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a501d9bd122291c77828ba799ae1aa9dc42520c4 | What is the real name of the person Darky thinks is good luck? | The film centres around the character of Tom, a young army recruit in an unnamed time and country (presumably World War II-era Eastern Europe) who deserts after an artillery barrage kills his sergeant, in the process blinding a sadistic officer who tries to stop him. He is shell-shocked into muteness and takes refuge with a travelling gypsy caravan, led by Darky. Among the principal members of the clan are Darky's mentally disabled son, Simon, Simon's mother Elle who harbours a grudge against Darky, and Darky's only daughter, Jessie, who forms a romantic bond with Tom, eventually becoming pregnant by him. In order to avoid arrest and execution by the army, Tom disguises himself as a "rawney", described in the film as a kind of "magic" madwoman, who (in the gypsy culture) is able to see the future and can control animals. Frightened at first, Darky befriends the "rawney", thinking him or her to be good luck, but soon Darky is revealed to be a flawed leader, unable to protect his clan from war, and beset by family turmoil which is exacerbated by Tom's presence. Throughout the film, the army and the partially blinded officer is a menace, threatening the gypsies' way of life and those who befriend them. In a moving finale, the army corners the gypsy clan, who manage to hold them off with meagre rifles and pistols long enough to enable the young members of the clan, including Tom and Jessie, to escape, at the cost of their own lives. | The Raggedy Rawney | https://en.wikipedia.org/wiki/The_Raggedy_Rawney | {
"answer_start": [
665
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"text": [
"Tom"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the real name of the person Darky thinks is good luck?, using the article: The film centres around the character of Tom, a young army recruit in an unnamed time and country (presumably World War II-era Eastern Europe) who deserts after an artillery barrage kills his sergeant, in the process blinding a sadistic officer who tries to stop him. He is shell-shocked into muteness and takes refuge with a travelling gypsy caravan, led by Darky. Among the principal members of the clan are Darky's mentally disabled son, Simon, Simon's mother Elle who harbours a grudge against Darky, and Darky's only daughter, Jessie, who forms a romantic bond with Tom, eventually becoming pregnant by him. In order to avoid arrest and execution by the army, Tom disguises himself as a "rawney", described in the film as a kind of "magic" madwoman, who (in the gypsy culture) is able to see the future and can control animals. Frightened at first, Darky befriends the "rawney", thinking him or her to be good luck, but soon Darky is revealed to be a flawed leader, unable to protect his clan from war, and beset by family turmoil which is exacerbated by Tom's presence. Throughout the film, the army and the partially blinded officer is a menace, threatening the gypsies' way of life and those who befriend them. In a moving finale, the army corners the gypsy clan, who manage to hold them off with meagre rifles and pistols long enough to enable the young members of the clan, including Tom and Jessie, to escape, at the cost of their own lives., what would be the answer ? | Tom |
3dddc4a7531e8e52105ba04a716fc76618874a5b | Which daughter was directly responsible for the mother's death? | Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor. | Genova (2008 film) | https://en.wikipedia.org/wiki/Genova_(2008_film) | {
"answer_start": [
503
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"text": [
"The younger daughter"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Which daughter was directly responsible for the mother's death?, using the article: Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor., what would be the answer ? | The younger daughter |
baff2d4ae47f656b3f70b7e1e1b316a83e255602 | Who are two of the Professors romantic interests? | Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor. | Genova (2008 film) | https://en.wikipedia.org/wiki/Genova_(2008_film) | {
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926,
1315
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"text": [
"a colleague at the university",
"a young Italian student"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who are two of the Professors romantic interests?, using the article: Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor., what would be the answer ? | a colleague at the university |
66721e4256a7cecdc98690357937b2c65f0430c3 | Which romantic interest crossed the line between good advice and intrusion in their private ways? | Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor. | Genova (2008 film) | https://en.wikipedia.org/wiki/Genova_(2008_film) | {
"answer_start": [
1076
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"text": [
"The colleague"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: Which romantic interest crossed the line between good advice and intrusion in their private ways?, using the article: Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor., what would be the answer ? | The colleague |
463058915b74b87fa3d6e261a9bbff2122e77fd9 | Who does the trio consist of? | Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor. | Genova (2008 film) | https://en.wikipedia.org/wiki/Genova_(2008_film) | {
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51,
165
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"text": [
"a college professor",
"his two daughters"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: Who does the trio consist of?, using the article: Following the death of his wife in a car accident, a college professor decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupies a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The elder daughter begins dating a local Italian teenager, surreptitiously making dates with him behind her father's back. The younger daughter remains close to her father, and still deals with painful memories of her mother's death. A passenger in the car herself when her mother was killed, she was directly responsible for the accident and remains haunted by her image.
The Professor, while enjoying life in Genova, has to deal with the demands of being a single parent while also balancing his re-emergent love life. One romantic interest is a colleague at the university (played by Catherine Keener) with whom he shared a brief romantic relationship back at Harvard when both were students. The colleague tries to get close to the family, helping with translation and their day-to-day needs in Genova, but crossing the thin line between good advice and intrusion in their private ways in the process. Another romantic interest is a young Italian student in the professor's literature class. She is brash and idealistic and quickly makes her intentions known to the suddenly single professor., what would be the answer ? | his two daughters |
036cec6666973f53b8ae07c08d89314fbc58933c | What is the name of John Gray's mother? | The film takes place in Minnesota, in 1990. Detective Bruce Kenner investigates the case of John Gray, who admits to sexually abusing his 17-year-old daughter Angela but has no recollection of the abuse. They seek the help of Professor Kenneth Raines to use recovered-memory therapy on John Gray to retrieve his memories, and come to suspect that their colleague Detective George Nesbitt is involved. They detain him but fail to find evidence against him. Detectives suspect a satanic cult is involved because of Angela's testimony, in which Angela says that she was abused by people in masks and someone took pictures of it.
Bruce and Kenneth meet Angela's estranged brother Roy Gray to inquire about why he left the house. Using the regression technique on him, he recalls hooded figures entering his room while he was young. Bruce and Kenneth suspect Roy's grandmother, Rose Gray, has some involvement but find nothing after a search of her house.
Meanwhile, Bruce begins having nightmares involving satanic rituals. Angela tells him that the cult is out to kill her as she has shown her demonic mark to him and that he is in danger as well. She tells him that her mother received miscellaneous calls and saw strange figures staring at her in the street before she met with an accident. Bruce starts to experience the same things and his nightmares increase in intensity. | Regression (film) | https://en.wikipedia.org/wiki/Regression_(film) | {
"answer_start": [
873
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"text": [
"Rose Gray"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of John Gray's mother?, using the article: The film takes place in Minnesota, in 1990. Detective Bruce Kenner investigates the case of John Gray, who admits to sexually abusing his 17-year-old daughter Angela but has no recollection of the abuse. They seek the help of Professor Kenneth Raines to use recovered-memory therapy on John Gray to retrieve his memories, and come to suspect that their colleague Detective George Nesbitt is involved. They detain him but fail to find evidence against him. Detectives suspect a satanic cult is involved because of Angela's testimony, in which Angela says that she was abused by people in masks and someone took pictures of it.
Bruce and Kenneth meet Angela's estranged brother Roy Gray to inquire about why he left the house. Using the regression technique on him, he recalls hooded figures entering his room while he was young. Bruce and Kenneth suspect Roy's grandmother, Rose Gray, has some involvement but find nothing after a search of her house.
Meanwhile, Bruce begins having nightmares involving satanic rituals. Angela tells him that the cult is out to kill her as she has shown her demonic mark to him and that he is in danger as well. She tells him that her mother received miscellaneous calls and saw strange figures staring at her in the street before she met with an accident. Bruce starts to experience the same things and his nightmares increase in intensity., what would be the answer ? | Rose Gray |
4ad5454536ecc2d832e13c7dadb00a912a7d6a65 | What are the full names of the people who made significant advances in natural representation and illusionism? | Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Louvain, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568 (Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder). Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy, although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into Netherlandish and other Northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
The major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their work typically features complex iconography. Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is also noted for its sculpture, tapestries, illuminated manuscripts, stained glass and carved retables.
The first generations of artists were active during the height of Burgundian influence in Europe, when the Low Countries became the political and economic centre of Northern Europe, noted for its crafts and luxury goods. Assisted by the workshop system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority of the works were destroyed during waves of iconoclasm in the 16th and 17th centuries; today only a few thousand examples survive. Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, and establishing bare outlines of even the major artists' lives. Attribution of some of the most significant works is still debated. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
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"text": [
"Campin",
"van Eyck",
"Rogier van der Weyden",
"Dieric Bouts",
"Petrus Christus",
"Hans Memling",
"Hugo van der Goes",
"Hieronymus Bosch"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the full names of the people who made significant advances in natural representation and illusionism?, using the article: Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Louvain, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568 (Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder). Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy, although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into Netherlandish and other Northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
The major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their work typically features complex iconography. Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is also noted for its sculpture, tapestries, illuminated manuscripts, stained glass and carved retables.
The first generations of artists were active during the height of Burgundian influence in Europe, when the Low Countries became the political and economic centre of Northern Europe, noted for its crafts and luxury goods. Assisted by the workshop system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority of the works were destroyed during waves of iconoclasm in the 16th and 17th centuries; today only a few thousand examples survive. Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, and establishing bare outlines of even the major artists' lives. Attribution of some of the most significant works is still debated., what would be the answer ? | Dieric Bouts |
7c33bfce7b5c4c49ed23c9b5733057e8e3b94eaa | What is the first name of the person who the 16th-century art historian Giorgio Vasari claimed invented the use of oil paint? | The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
817
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"text": [
"Jan"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who the 16th-century art historian Giorgio Vasari claimed invented the use of oil paint?, using the article: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south., what would be the answer ? | Jan |
cef15f6520f092cb774a4d23b92272a8faa922e6 | What are the last names of the three artists who are considered the first rank and most influential of the early generation of Early Netherlandish painters? | The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
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1138,
1408,
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"text": [
"Van Eyck",
"Campin",
"van der Weyden"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the last names of the three artists who are considered the first rank and most influential of the early generation of Early Netherlandish painters?, using the article: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south., what would be the answer ? | Campin |
b75e7b3df9db8a01c1c81b7e8231c0401a4546ce | What is the first name of the person who employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly? | The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
817
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"text": [
"Jan"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly?, using the article: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south., what would be the answer ? | Jan |
56e017da5614160534a860bd681e38d7d2912efb | WHat is the first name of the person who was said to have invented the use of oil paint? | The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
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817
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"Jan"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: WHat is the first name of the person who was said to have invented the use of oil paint?, using the article: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south., what would be the answer ? | Jan |
720e2f3ad1b5843f62a7171db15414145357b217 | What are the full names of the three artists considered the first rank and most influential of the early generation of Early Netherlandish painters? | The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
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"Jan van Eyck",
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{{answers.text | choice}}
| A friend asked me to answer this question: What are the full names of the three artists considered the first rank and most influential of the early generation of Early Netherlandish painters?, using the article: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south., what would be the answer ? | Jan van Eyck |
a69e525f98b6ffffe8d71c756befbb62e1dd860e | Who had a good knowledge of both Latin and Greek? | A number of artists traditionally associated with the movement had origins that were neither Dutch nor Flemish in the modern sense. Van der Weyden was born Roger de la Pasture in Tournai. The German Hans Memling and the Estonian Michael Sittow both worked in the Netherlands in a fully Netherlandish style. Simon Marmion is often regarded as an Early Netherlandish painter because he came from Amiens, an area intermittently ruled by the Burgundian court between 1435 and 1471. The Burgundian duchy was at its peak influence, and the innovations made by the Netherlandish painters were soon recognised across the continent. By the time of van Eyck's death, his paintings were sought by wealthy patrons across Europe. Copies of his works were widely circulated, a fact that greatly contributed to the spread of the Netherlandish style to central and southern Europe. Central European art was then under the dual influence of innovations from Italy and from the north. Often the exchange of ideas between the Low Countries and Italy led to patronage from nobility such as Matthias Corvinus, King of Hungary, who commissioned manuscripts from both traditions.The first generation were literate, well educated and mostly from middle-class backgrounds. Van Eyck and van der Weyden were both highly placed in the Burgundian court, with van Eyck in particular assuming roles for which an ability to read Latin was necessary; inscriptions found on his panels indicate that he had a good knowledge of both Latin and Greek. A number of artists were financially successful and much sought-after in the Low Countries and by patrons across Europe. Many artists, including David and Bouts, could afford to donate large works to the churches, monasteries and convents of their choosing. Van Eyck was a valet de chambre at the Burgundian court and had easy access to Philip the Good. Van der Weyden was a prudent investor in stocks and property; Bouts was commercially minded and married the heiress Catherine "Mettengelde" ("with the money"). Vrancke van der Stockt invested in land. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1248
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"Van Eyck"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who had a good knowledge of both Latin and Greek?, using the article: A number of artists traditionally associated with the movement had origins that were neither Dutch nor Flemish in the modern sense. Van der Weyden was born Roger de la Pasture in Tournai. The German Hans Memling and the Estonian Michael Sittow both worked in the Netherlands in a fully Netherlandish style. Simon Marmion is often regarded as an Early Netherlandish painter because he came from Amiens, an area intermittently ruled by the Burgundian court between 1435 and 1471. The Burgundian duchy was at its peak influence, and the innovations made by the Netherlandish painters were soon recognised across the continent. By the time of van Eyck's death, his paintings were sought by wealthy patrons across Europe. Copies of his works were widely circulated, a fact that greatly contributed to the spread of the Netherlandish style to central and southern Europe. Central European art was then under the dual influence of innovations from Italy and from the north. Often the exchange of ideas between the Low Countries and Italy led to patronage from nobility such as Matthias Corvinus, King of Hungary, who commissioned manuscripts from both traditions.The first generation were literate, well educated and mostly from middle-class backgrounds. Van Eyck and van der Weyden were both highly placed in the Burgundian court, with van Eyck in particular assuming roles for which an ability to read Latin was necessary; inscriptions found on his panels indicate that he had a good knowledge of both Latin and Greek. A number of artists were financially successful and much sought-after in the Low Countries and by patrons across Europe. Many artists, including David and Bouts, could afford to donate large works to the churches, monasteries and convents of their choosing. Van Eyck was a valet de chambre at the Burgundian court and had easy access to Philip the Good. Van der Weyden was a prudent investor in stocks and property; Bouts was commercially minded and married the heiress Catherine "Mettengelde" ("with the money"). Vrancke van der Stockt invested in land., what would be the answer ? | Van Eyck |
4404986bf22c6a6e640fe4c14c0cce0cff7c138e | What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective? | The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1406
],
"text": [
"Hieronymus Bosch"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?, using the article: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism., what would be the answer ? | Hieronymus Bosch |
1b5ff7c4849287d0407fb1b7578930e39e86a2ac | What is the full name of the Netherlandish painter whose work is almost entirely free of Italian influences? | The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1406
],
"text": [
"Hieronymus Bosch"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the Netherlandish painter whose work is almost entirely free of Italian influences?, using the article: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism., what would be the answer ? | Hieronymus Bosch |
d025c2b17ec72ad4bdefe1a6abb92433f6be7ba0 | What is the full name of the person whose better-known works are characterised by fantastical elements that tend towards the hallucinatory? | The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1406
],
"text": [
"Hieronymus Bosch"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person whose better-known works are characterised by fantastical elements that tend towards the hallucinatory?, using the article: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism., what would be the answer ? | Hieronymus Bosch |
e007a7a21ca20fbfe4f516bcf5171c4483c6e6b2 | What is the full name of the person whose paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period? | The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1406
],
"text": [
"Hieronymus Bosch"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person whose paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period?, using the article: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism., what would be the answer ? | Hieronymus Bosch |
09edde165e57a28d53e7855632bcb0480d630cb7 | What is the full name of the person whose work retains many 15th-century conventions but whose perspective and subjects are distinctly modern? | The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
2399
],
"text": [
"Pieter Bruegel the Elder"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person whose work retains many 15th-century conventions but whose perspective and subjects are distinctly modern?, using the article: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism., what would be the answer ? | Pieter Bruegel the Elder |
bf07657896abe33d5e54288c4da57d9da5fd5343 | What is the full name of the person who became friends with the head of the local painters' guild when he moved to Antwerp in 1505? | The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
807
],
"text": [
"Gerard David"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who became friends with the head of the local painters' guild when he moved to Antwerp in 1505?, using the article: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism., what would be the answer ? | Gerard David |
dde983472f041a96c767bc1f859881660c265c1b | What were the name of three paintings civic leaders commissioned from major artists? | By the 15th century the reach and influence of the Burgundian princes meant that the Low Countries' merchant and banker classes were in the ascendancy. The early to mid-century saw great rises in international trade and domestic wealth, leading to an enormous increase in the demand for art. Artists from the area attracted patronage from the Baltic coast, the north German and Polish regions, the Iberian Peninsula, Italy and the powerful families of England and Scotland. At first, masters had acted as their own dealers, attending fairs where they could also buy frames, panels and pigments. The mid-century saw the development of art dealership as a profession; the activity became purely commercially driven, dominated by the mercantile class.
Burgundian rule created a large class of courtiers and functionaries. Some gained enormous power and commissioned paintings to display their wealth and influence. Civic leaders also commissioned works from major artists, such as Bouts' Justice for Emperor Otto III, van der Weyden's The Justice of Trajan and Herkinbald and David's Justice of Cambyses. Civic commissions were less common and were not as lucrative, but they brought notice to and increased a painter's reputation, as with Memling, whose St John Altarpiece for Bruges' Sint-Janshospitaal brought him additional civic commissions.Wealthy foreign patronage and the development of international trade afforded the established masters the chance to build up workshops with assistants. Although first-rank painters such as Petrus Christus and Hans Memling found patrons among the local nobility, they catered specifically to the large foreign population in Bruges. Painters not only exported goods but also themselves; foreign princes and nobility, striving to emulate the opulence of the Burgundian court, hired painters away from Bruges. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
978,
1032,
1081
],
"text": [
"Bouts' Justice",
"The Justice of Trajan",
"Justice of Cambyses"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What were the name of three paintings civic leaders commissioned from major artists?, using the article: By the 15th century the reach and influence of the Burgundian princes meant that the Low Countries' merchant and banker classes were in the ascendancy. The early to mid-century saw great rises in international trade and domestic wealth, leading to an enormous increase in the demand for art. Artists from the area attracted patronage from the Baltic coast, the north German and Polish regions, the Iberian Peninsula, Italy and the powerful families of England and Scotland. At first, masters had acted as their own dealers, attending fairs where they could also buy frames, panels and pigments. The mid-century saw the development of art dealership as a profession; the activity became purely commercially driven, dominated by the mercantile class.
Burgundian rule created a large class of courtiers and functionaries. Some gained enormous power and commissioned paintings to display their wealth and influence. Civic leaders also commissioned works from major artists, such as Bouts' Justice for Emperor Otto III, van der Weyden's The Justice of Trajan and Herkinbald and David's Justice of Cambyses. Civic commissions were less common and were not as lucrative, but they brought notice to and increased a painter's reputation, as with Memling, whose St John Altarpiece for Bruges' Sint-Janshospitaal brought him additional civic commissions.Wealthy foreign patronage and the development of international trade afforded the established masters the chance to build up workshops with assistants. Although first-rank painters such as Petrus Christus and Hans Memling found patrons among the local nobility, they catered specifically to the large foreign population in Bruges. Painters not only exported goods but also themselves; foreign princes and nobility, striving to emulate the opulence of the Burgundian court, hired painters away from Bruges., what would be the answer ? | Bouts' Justice |
a2321d993a463ebdb38685780dde8dc4a1c68f9e | What was the full name of the person whose civic commission brought him additional civic commissions? | By the 15th century the reach and influence of the Burgundian princes meant that the Low Countries' merchant and banker classes were in the ascendancy. The early to mid-century saw great rises in international trade and domestic wealth, leading to an enormous increase in the demand for art. Artists from the area attracted patronage from the Baltic coast, the north German and Polish regions, the Iberian Peninsula, Italy and the powerful families of England and Scotland. At first, masters had acted as their own dealers, attending fairs where they could also buy frames, panels and pigments. The mid-century saw the development of art dealership as a profession; the activity became purely commercially driven, dominated by the mercantile class.
Burgundian rule created a large class of courtiers and functionaries. Some gained enormous power and commissioned paintings to display their wealth and influence. Civic leaders also commissioned works from major artists, such as Bouts' Justice for Emperor Otto III, van der Weyden's The Justice of Trajan and Herkinbald and David's Justice of Cambyses. Civic commissions were less common and were not as lucrative, but they brought notice to and increased a painter's reputation, as with Memling, whose St John Altarpiece for Bruges' Sint-Janshospitaal brought him additional civic commissions.Wealthy foreign patronage and the development of international trade afforded the established masters the chance to build up workshops with assistants. Although first-rank painters such as Petrus Christus and Hans Memling found patrons among the local nobility, they catered specifically to the large foreign population in Bruges. Painters not only exported goods but also themselves; foreign princes and nobility, striving to emulate the opulence of the Burgundian court, hired painters away from Bruges. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1553
],
"text": [
"Hans Memling"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the full name of the person whose civic commission brought him additional civic commissions?, using the article: By the 15th century the reach and influence of the Burgundian princes meant that the Low Countries' merchant and banker classes were in the ascendancy. The early to mid-century saw great rises in international trade and domestic wealth, leading to an enormous increase in the demand for art. Artists from the area attracted patronage from the Baltic coast, the north German and Polish regions, the Iberian Peninsula, Italy and the powerful families of England and Scotland. At first, masters had acted as their own dealers, attending fairs where they could also buy frames, panels and pigments. The mid-century saw the development of art dealership as a profession; the activity became purely commercially driven, dominated by the mercantile class.
Burgundian rule created a large class of courtiers and functionaries. Some gained enormous power and commissioned paintings to display their wealth and influence. Civic leaders also commissioned works from major artists, such as Bouts' Justice for Emperor Otto III, van der Weyden's The Justice of Trajan and Herkinbald and David's Justice of Cambyses. Civic commissions were less common and were not as lucrative, but they brought notice to and increased a painter's reputation, as with Memling, whose St John Altarpiece for Bruges' Sint-Janshospitaal brought him additional civic commissions.Wealthy foreign patronage and the development of international trade afforded the established masters the chance to build up workshops with assistants. Although first-rank painters such as Petrus Christus and Hans Memling found patrons among the local nobility, they catered specifically to the large foreign population in Bruges. Painters not only exported goods but also themselves; foreign princes and nobility, striving to emulate the opulence of the Burgundian court, hired painters away from Bruges., what would be the answer ? | Hans Memling |
e51ffc4db01d01059068bdcc8eb665880418ffd8 | What is the full name of the person whose library was an expression of the man as a Christian prince? | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
490
],
"text": [
"Philip the Good"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person whose library was an expression of the man as a Christian prince?, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Philip the Good |
ae73f7bffe188b33016f1e75ac28ca54df547a23 | What is the first name of the person who is a Christian prince? | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
490
],
"text": [
"Philip"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who is a Christian prince?, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Philip |
ce5ad54d8fe2cfe1d3b5eb71e16d21e6c24a55c9 | What was the first name of Philip the Good's son? | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
976
],
"text": [
"Charles"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the first name of Philip the Good's son?, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Charles |
953b6445317d41e10631f4b2dd1d637fca34d175 | What was the first name of Philip the Good's wife? | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
997
],
"text": [
"Margaret of York"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the first name of Philip the Good's wife?, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Margaret of York |
cf9d4c8dd6edda9151a1a879b326185828c464e0 | What were the full names of the two people whose libraries they left formed the nucleus from which sprang the Royal Library of Belgium? | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
490,
1103
],
"text": [
"Philip the Good,",
"Edward IV"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What were the full names of the two people whose libraries they left formed the nucleus from which sprang the Royal Library of Belgium?, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Edward IV |
3aaf1354b3f20b52b0ca880a7f476b6ba8be5f80 | What is the full name of the son of the man who collected more than a thousand illuminated books before his death? | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
976
],
"text": [
"Charles the Bold"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the son of the man who collected more than a thousand illuminated books before his death?, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Charles the Bold |
790083d4c2ef2867fe4131763b5cc8d9b3f80dad | What is the full name of the wife of the man who collected more than a thousand illuminated books before his death | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
997
],
"text": [
"Margaret of York"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the wife of the man who collected more than a thousand illuminated books before his death, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Margaret of York |
80c14b7e93b15760412971f55d70c039a0d63758 | Q: What is the full name of the grandfather of the woman married to Maximilian I? | A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
490
],
"text": [
"Philip the Good"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Q: What is the full name of the grandfather of the woman married to Maximilian I?, using the article: A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from the 12th century that had already produced significant numbers of liturgical texts. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and Margaret of York; his granddaughter Mary of Burgundy and her husband Maximilian I; and to his son-in-law, Edward IV, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the Royal Library of Belgium and the English Royal Library.Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England, James IV of Scotland and Eleanor of Viseu., what would be the answer ? | Philip the Good |
079a14591294a712b579233f5ea9c0124470f9fb | What is the name of the man that used an innovative page layout that often blurred the line between the miniature and its border? | There was considerable overlap between panel painting and illumination; van Eyck, van der Weyden, Christus and other painters designed manuscript miniatures. In addition, miniaturists would borrow motifs and ideas from panel paintings; Campin's work was often used as a source in this way, for example in the "Hours of Raoul d'Ailly". Commissions were often shared between several masters, with junior painters or specialists assisting, especially with details such as the border decorations, these last often done by women. The masters rarely signed their work, making attribution difficult; the identities of some of the more significant illuminators are lost.Netherlandish artists found increasingly inventive ways to highlight and differentiate their work from manuscripts from surrounding countries; such techniques included designing elaborate page borders and devising ways to relate scale and space. They explored the interplay between the three essential components of a manuscript: border, miniature and text. An example is the Nassau book of hours (c. 1467–80) by the Vienna Master of Mary of Burgundy, in which the borders are decorated with large illusionistic flowers and insects. These elements achieved their effect by being broadly painted, as if scattered across the gilded surface of the miniatures. This technique was continued by, among others, the Flemish Master of James IV of Scotland (possibly Gerard Horenbout), known for his innovative page layout. Using various illusionistic elements, he often blurred the line between the miniature and its border, frequently using both in his efforts to advance the narrative of his scenes.During the early 19th century, the collection of 15th- and 16th-century Netherlandish cut-out, as miniatures or parts for albums, became fashionable amongst connoisseurs such as William Young Ottley, leading to the destruction of many manuscripts. Originals were highly sought after, a revival that helped the rediscovery of Netherlandish art in the later part of the century. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1388
],
"text": [
"James IV"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the man that used an innovative page layout that often blurred the line between the miniature and its border?, using the article: There was considerable overlap between panel painting and illumination; van Eyck, van der Weyden, Christus and other painters designed manuscript miniatures. In addition, miniaturists would borrow motifs and ideas from panel paintings; Campin's work was often used as a source in this way, for example in the "Hours of Raoul d'Ailly". Commissions were often shared between several masters, with junior painters or specialists assisting, especially with details such as the border decorations, these last often done by women. The masters rarely signed their work, making attribution difficult; the identities of some of the more significant illuminators are lost.Netherlandish artists found increasingly inventive ways to highlight and differentiate their work from manuscripts from surrounding countries; such techniques included designing elaborate page borders and devising ways to relate scale and space. They explored the interplay between the three essential components of a manuscript: border, miniature and text. An example is the Nassau book of hours (c. 1467–80) by the Vienna Master of Mary of Burgundy, in which the borders are decorated with large illusionistic flowers and insects. These elements achieved their effect by being broadly painted, as if scattered across the gilded surface of the miniatures. This technique was continued by, among others, the Flemish Master of James IV of Scotland (possibly Gerard Horenbout), known for his innovative page layout. Using various illusionistic elements, he often blurred the line between the miniature and its border, frequently using both in his efforts to advance the narrative of his scenes.During the early 19th century, the collection of 15th- and 16th-century Netherlandish cut-out, as miniatures or parts for albums, became fashionable amongst connoisseurs such as William Young Ottley, leading to the destruction of many manuscripts. Originals were highly sought after, a revival that helped the rediscovery of Netherlandish art in the later part of the century., what would be the answer ? | James IV |
19fa7ba1327a8cb3650d87ebc0034c4bc268ed86 | What is the first name of the person who was highly influential on later painters? | Petrus Christus placed his sitter in a naturalistic setting rather than a flat and featureless background. This approach was in part a reaction against van der Weyden, who, in his emphasis on sculptural figures, utilised very shallow pictorial spaces. In his 1462 Portrait of a Man, Dieric Bouts went further by situating the man in a room complete with a window that looks out at a landscape, while in the 16th century, the full-length portrait became popular in the north. The latter format was practically unseen in earlier northern art, although it had a tradition in Italy going back centuries, most usually in fresco and illuminated manuscripts. Full-length portraits were reserved for depictions of the highest echelon of society, and were associated with princely displays of power. Of the second generation of northern painters, Hans Memling became the leading portraitist, taking commissions from as far as Italy. He was highly influential on later painters and is credited with inspiring Leonardo's positioning of the Mona Lisa in front of a landscape view. Van Eyck and van der Weyden similarly influenced the French artist Jean Fouquet and the Germans Hans Pleydenwurff and Martin Schongauer among others.The Netherlandish artists moved away from the profile view – popularised during the Italian Quattrocento – towards the less formal but more engaging three-quarter view. At this angle, more than one side of the face is visible as the sitter's body is rotated towards the viewer. This pose gives a better view of the shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433 Portrait of a Man is an early example, which shows the artist himself looking at the viewer. Although there is often direct eye contact between subject and viewer, the look is normally detached, aloof and uncommunicative, perhaps to reflect the subject's high social position. There are exceptions, typically in bridal portraits or in the case of potential betrothals, when the object of the work is to make the sitter as attractive as possible. In these cases the sitter was often shown smiling, with an engaging and radiant expression designed to appeal to her intended.Around 1508, Albrecht Dürer described the function of portraiture as "preserving a person's appearance after his death". Portraits were objects of status, and served to ensure that the individual's personal success was recorded and would endure beyond his lifetime. Most portraits tended to show royalty, the upper nobility or princes of the church. The new affluence in the Burgundian Netherlands brought a wider variety of clientele, as members of the upper middle class could now afford to commission a portrait. As a result, more is known about the appearance and dress of the region's people than at any time since the late Roman period. Portraits did not generally require lengthy sittings; typically a series of preparatory drawings were used to flesh out the final panel. Very few of these drawings survive, a notable exception being van Eyck's study for his Portrait of Cardinal Niccolò Albergati. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
838
],
"text": [
"Hans"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who was highly influential on later painters?, using the article: Petrus Christus placed his sitter in a naturalistic setting rather than a flat and featureless background. This approach was in part a reaction against van der Weyden, who, in his emphasis on sculptural figures, utilised very shallow pictorial spaces. In his 1462 Portrait of a Man, Dieric Bouts went further by situating the man in a room complete with a window that looks out at a landscape, while in the 16th century, the full-length portrait became popular in the north. The latter format was practically unseen in earlier northern art, although it had a tradition in Italy going back centuries, most usually in fresco and illuminated manuscripts. Full-length portraits were reserved for depictions of the highest echelon of society, and were associated with princely displays of power. Of the second generation of northern painters, Hans Memling became the leading portraitist, taking commissions from as far as Italy. He was highly influential on later painters and is credited with inspiring Leonardo's positioning of the Mona Lisa in front of a landscape view. Van Eyck and van der Weyden similarly influenced the French artist Jean Fouquet and the Germans Hans Pleydenwurff and Martin Schongauer among others.The Netherlandish artists moved away from the profile view – popularised during the Italian Quattrocento – towards the less formal but more engaging three-quarter view. At this angle, more than one side of the face is visible as the sitter's body is rotated towards the viewer. This pose gives a better view of the shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433 Portrait of a Man is an early example, which shows the artist himself looking at the viewer. Although there is often direct eye contact between subject and viewer, the look is normally detached, aloof and uncommunicative, perhaps to reflect the subject's high social position. There are exceptions, typically in bridal portraits or in the case of potential betrothals, when the object of the work is to make the sitter as attractive as possible. In these cases the sitter was often shown smiling, with an engaging and radiant expression designed to appeal to her intended.Around 1508, Albrecht Dürer described the function of portraiture as "preserving a person's appearance after his death". Portraits were objects of status, and served to ensure that the individual's personal success was recorded and would endure beyond his lifetime. Most portraits tended to show royalty, the upper nobility or princes of the church. The new affluence in the Burgundian Netherlands brought a wider variety of clientele, as members of the upper middle class could now afford to commission a portrait. As a result, more is known about the appearance and dress of the region's people than at any time since the late Roman period. Portraits did not generally require lengthy sittings; typically a series of preparatory drawings were used to flesh out the final panel. Very few of these drawings survive, a notable exception being van Eyck's study for his Portrait of Cardinal Niccolò Albergati., what would be the answer ? | Hans |
2134aa1d12c74f596a3dd673999f5c43ab00bf6b | What is the first name of the person who is credited with inspiring the positioning of the Mona Lisa? | Petrus Christus placed his sitter in a naturalistic setting rather than a flat and featureless background. This approach was in part a reaction against van der Weyden, who, in his emphasis on sculptural figures, utilised very shallow pictorial spaces. In his 1462 Portrait of a Man, Dieric Bouts went further by situating the man in a room complete with a window that looks out at a landscape, while in the 16th century, the full-length portrait became popular in the north. The latter format was practically unseen in earlier northern art, although it had a tradition in Italy going back centuries, most usually in fresco and illuminated manuscripts. Full-length portraits were reserved for depictions of the highest echelon of society, and were associated with princely displays of power. Of the second generation of northern painters, Hans Memling became the leading portraitist, taking commissions from as far as Italy. He was highly influential on later painters and is credited with inspiring Leonardo's positioning of the Mona Lisa in front of a landscape view. Van Eyck and van der Weyden similarly influenced the French artist Jean Fouquet and the Germans Hans Pleydenwurff and Martin Schongauer among others.The Netherlandish artists moved away from the profile view – popularised during the Italian Quattrocento – towards the less formal but more engaging three-quarter view. At this angle, more than one side of the face is visible as the sitter's body is rotated towards the viewer. This pose gives a better view of the shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433 Portrait of a Man is an early example, which shows the artist himself looking at the viewer. Although there is often direct eye contact between subject and viewer, the look is normally detached, aloof and uncommunicative, perhaps to reflect the subject's high social position. There are exceptions, typically in bridal portraits or in the case of potential betrothals, when the object of the work is to make the sitter as attractive as possible. In these cases the sitter was often shown smiling, with an engaging and radiant expression designed to appeal to her intended.Around 1508, Albrecht Dürer described the function of portraiture as "preserving a person's appearance after his death". Portraits were objects of status, and served to ensure that the individual's personal success was recorded and would endure beyond his lifetime. Most portraits tended to show royalty, the upper nobility or princes of the church. The new affluence in the Burgundian Netherlands brought a wider variety of clientele, as members of the upper middle class could now afford to commission a portrait. As a result, more is known about the appearance and dress of the region's people than at any time since the late Roman period. Portraits did not generally require lengthy sittings; typically a series of preparatory drawings were used to flesh out the final panel. Very few of these drawings survive, a notable exception being van Eyck's study for his Portrait of Cardinal Niccolò Albergati. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
838
],
"text": [
"Hans"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who is credited with inspiring the positioning of the Mona Lisa?, using the article: Petrus Christus placed his sitter in a naturalistic setting rather than a flat and featureless background. This approach was in part a reaction against van der Weyden, who, in his emphasis on sculptural figures, utilised very shallow pictorial spaces. In his 1462 Portrait of a Man, Dieric Bouts went further by situating the man in a room complete with a window that looks out at a landscape, while in the 16th century, the full-length portrait became popular in the north. The latter format was practically unseen in earlier northern art, although it had a tradition in Italy going back centuries, most usually in fresco and illuminated manuscripts. Full-length portraits were reserved for depictions of the highest echelon of society, and were associated with princely displays of power. Of the second generation of northern painters, Hans Memling became the leading portraitist, taking commissions from as far as Italy. He was highly influential on later painters and is credited with inspiring Leonardo's positioning of the Mona Lisa in front of a landscape view. Van Eyck and van der Weyden similarly influenced the French artist Jean Fouquet and the Germans Hans Pleydenwurff and Martin Schongauer among others.The Netherlandish artists moved away from the profile view – popularised during the Italian Quattrocento – towards the less formal but more engaging three-quarter view. At this angle, more than one side of the face is visible as the sitter's body is rotated towards the viewer. This pose gives a better view of the shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433 Portrait of a Man is an early example, which shows the artist himself looking at the viewer. Although there is often direct eye contact between subject and viewer, the look is normally detached, aloof and uncommunicative, perhaps to reflect the subject's high social position. There are exceptions, typically in bridal portraits or in the case of potential betrothals, when the object of the work is to make the sitter as attractive as possible. In these cases the sitter was often shown smiling, with an engaging and radiant expression designed to appeal to her intended.Around 1508, Albrecht Dürer described the function of portraiture as "preserving a person's appearance after his death". Portraits were objects of status, and served to ensure that the individual's personal success was recorded and would endure beyond his lifetime. Most portraits tended to show royalty, the upper nobility or princes of the church. The new affluence in the Burgundian Netherlands brought a wider variety of clientele, as members of the upper middle class could now afford to commission a portrait. As a result, more is known about the appearance and dress of the region's people than at any time since the late Roman period. Portraits did not generally require lengthy sittings; typically a series of preparatory drawings were used to flesh out the final panel. Very few of these drawings survive, a notable exception being van Eyck's study for his Portrait of Cardinal Niccolò Albergati., what would be the answer ? | Hans |
8eefd806a12093a885b7042009815b8e722722fe | What is the last names of the people who moved away from the profile view towards the less formal but more engaging three-quarter view? | Petrus Christus placed his sitter in a naturalistic setting rather than a flat and featureless background. This approach was in part a reaction against van der Weyden, who, in his emphasis on sculptural figures, utilised very shallow pictorial spaces. In his 1462 Portrait of a Man, Dieric Bouts went further by situating the man in a room complete with a window that looks out at a landscape, while in the 16th century, the full-length portrait became popular in the north. The latter format was practically unseen in earlier northern art, although it had a tradition in Italy going back centuries, most usually in fresco and illuminated manuscripts. Full-length portraits were reserved for depictions of the highest echelon of society, and were associated with princely displays of power. Of the second generation of northern painters, Hans Memling became the leading portraitist, taking commissions from as far as Italy. He was highly influential on later painters and is credited with inspiring Leonardo's positioning of the Mona Lisa in front of a landscape view. Van Eyck and van der Weyden similarly influenced the French artist Jean Fouquet and the Germans Hans Pleydenwurff and Martin Schongauer among others.The Netherlandish artists moved away from the profile view – popularised during the Italian Quattrocento – towards the less formal but more engaging three-quarter view. At this angle, more than one side of the face is visible as the sitter's body is rotated towards the viewer. This pose gives a better view of the shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433 Portrait of a Man is an early example, which shows the artist himself looking at the viewer. Although there is often direct eye contact between subject and viewer, the look is normally detached, aloof and uncommunicative, perhaps to reflect the subject's high social position. There are exceptions, typically in bridal portraits or in the case of potential betrothals, when the object of the work is to make the sitter as attractive as possible. In these cases the sitter was often shown smiling, with an engaging and radiant expression designed to appeal to her intended.Around 1508, Albrecht Dürer described the function of portraiture as "preserving a person's appearance after his death". Portraits were objects of status, and served to ensure that the individual's personal success was recorded and would endure beyond his lifetime. Most portraits tended to show royalty, the upper nobility or princes of the church. The new affluence in the Burgundian Netherlands brought a wider variety of clientele, as members of the upper middle class could now afford to commission a portrait. As a result, more is known about the appearance and dress of the region's people than at any time since the late Roman period. Portraits did not generally require lengthy sittings; typically a series of preparatory drawings were used to flesh out the final panel. Very few of these drawings survive, a notable exception being van Eyck's study for his Portrait of Cardinal Niccolò Albergati. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1069,
1082
],
"text": [
"Van Eyck",
"van der Weyden"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last names of the people who moved away from the profile view towards the less formal but more engaging three-quarter view?, using the article: Petrus Christus placed his sitter in a naturalistic setting rather than a flat and featureless background. This approach was in part a reaction against van der Weyden, who, in his emphasis on sculptural figures, utilised very shallow pictorial spaces. In his 1462 Portrait of a Man, Dieric Bouts went further by situating the man in a room complete with a window that looks out at a landscape, while in the 16th century, the full-length portrait became popular in the north. The latter format was practically unseen in earlier northern art, although it had a tradition in Italy going back centuries, most usually in fresco and illuminated manuscripts. Full-length portraits were reserved for depictions of the highest echelon of society, and were associated with princely displays of power. Of the second generation of northern painters, Hans Memling became the leading portraitist, taking commissions from as far as Italy. He was highly influential on later painters and is credited with inspiring Leonardo's positioning of the Mona Lisa in front of a landscape view. Van Eyck and van der Weyden similarly influenced the French artist Jean Fouquet and the Germans Hans Pleydenwurff and Martin Schongauer among others.The Netherlandish artists moved away from the profile view – popularised during the Italian Quattrocento – towards the less formal but more engaging three-quarter view. At this angle, more than one side of the face is visible as the sitter's body is rotated towards the viewer. This pose gives a better view of the shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433 Portrait of a Man is an early example, which shows the artist himself looking at the viewer. Although there is often direct eye contact between subject and viewer, the look is normally detached, aloof and uncommunicative, perhaps to reflect the subject's high social position. There are exceptions, typically in bridal portraits or in the case of potential betrothals, when the object of the work is to make the sitter as attractive as possible. In these cases the sitter was often shown smiling, with an engaging and radiant expression designed to appeal to her intended.Around 1508, Albrecht Dürer described the function of portraiture as "preserving a person's appearance after his death". Portraits were objects of status, and served to ensure that the individual's personal success was recorded and would endure beyond his lifetime. Most portraits tended to show royalty, the upper nobility or princes of the church. The new affluence in the Burgundian Netherlands brought a wider variety of clientele, as members of the upper middle class could now afford to commission a portrait. As a result, more is known about the appearance and dress of the region's people than at any time since the late Roman period. Portraits did not generally require lengthy sittings; typically a series of preparatory drawings were used to flesh out the final panel. Very few of these drawings survive, a notable exception being van Eyck's study for his Portrait of Cardinal Niccolò Albergati., what would be the answer ? | Van Eyck |
05affb3434ca6694199c2a687708acaf58b9fba7 | What is the full name of the person who effectively legitimized Netherlandish art as a field of study? | The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
471
],
"text": [
"Erwin Panofsky"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who effectively legitimized Netherlandish art as a field of study?, using the article: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established., what would be the answer ? | Erwin Panofsky |
5ca1a2bf74889d3c5a317c52cf4bf17859853741 | What is the full name of the person who built on Friedländer's attempts at attribution, but focused more on social history and religious iconography? | The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
471
],
"text": [
"Erwin Panofsky"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who built on Friedländer's attempts at attribution, but focused more on social history and religious iconography?, using the article: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established., what would be the answer ? | Erwin Panofsky |
c926066a504ced87427dbb82330ef18df2d92257 | What are the full names of the two individuals who were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience? | The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1640,
1655
],
"text": [
"Otto Pächt",
"Friedrich Winkler"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the full names of the two individuals who were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience?, using the article: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established., what would be the answer ? | Otto Pächt |
6c6472e28a035ff9deb40155db42708be29859b4 | What is the first name of the the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap? | The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
471
],
"text": [
"Erwin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap?, using the article: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established., what would be the answer ? | Erwin |
c0f6554dde7c1e03e2e9c57f98969669157f1638 | What is the last name of the person who considered the study of manuscripts to be integral to the study of panels? | The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1248
],
"text": [
"Panofsky"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who considered the study of manuscripts to be integral to the study of panels?, using the article: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established., what would be the answer ? | Panofsky |
bdf581834baed4b62c248e62222ebe61489f500e | What, instead, investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision? | More recent research from art historians such as Lorne Campbell relies on X-ray and infrared photography to develop an understanding of the techniques and materials used by the painters. The conservation of the Ghent Altarpiece in the mid-1950s pioneered methodologies and scholarship in technical studies. Examination of paint layers and underlayers was later applied to other Netherlandish works, allowing for more accurate attributions. Van Eyck's work, for example, typically shows underdrawings unlike Christus' work. These discoveries, too, hint at the relationships between the masters of the first rank and those in the following generations, with Memling's underdrawings clearly showing van der Weyden's influence.Scholarship since the 1970s has tended to move away from a pure study of iconography, instead emphasizing the paintings' and artists' relation to the social history of their time. According to Craig Harbison, "Social history was becoming increasingly important. Panofsky had never really talked about what kind of people these were." Harbison sees the works as objects of devotion with a "prayer book mentality" available to middle-class burghers who had the means and the inclination to commission devotional objects. Most recent scholarship is moving away from the focus on religious iconography; instead, it investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision. James Marrow thinks the painters wanted to evoke specific responses, which are often hinted at by the figures' emotions in the paintings. | Early Netherlandish painting | https://en.wikipedia.org/wiki/Early_Netherlandish_painting | {
"answer_start": [
1247
],
"text": [
"recent scholarship"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What, instead, investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision?, using the article: More recent research from art historians such as Lorne Campbell relies on X-ray and infrared photography to develop an understanding of the techniques and materials used by the painters. The conservation of the Ghent Altarpiece in the mid-1950s pioneered methodologies and scholarship in technical studies. Examination of paint layers and underlayers was later applied to other Netherlandish works, allowing for more accurate attributions. Van Eyck's work, for example, typically shows underdrawings unlike Christus' work. These discoveries, too, hint at the relationships between the masters of the first rank and those in the following generations, with Memling's underdrawings clearly showing van der Weyden's influence.Scholarship since the 1970s has tended to move away from a pure study of iconography, instead emphasizing the paintings' and artists' relation to the social history of their time. According to Craig Harbison, "Social history was becoming increasingly important. Panofsky had never really talked about what kind of people these were." Harbison sees the works as objects of devotion with a "prayer book mentality" available to middle-class burghers who had the means and the inclination to commission devotional objects. Most recent scholarship is moving away from the focus on religious iconography; instead, it investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision. James Marrow thinks the painters wanted to evoke specific responses, which are often hinted at by the figures' emotions in the paintings., what would be the answer ? | recent scholarship |
299cc14fcc0f0a9b6ff161f595509323d60a78e1 | What was The Towan by when it received help? | The Doom Bar has accounted for more than 600 beachings, capsizes and wrecks since records began early in the nineteenth century, the majority of which are wrecks.Larger boats entering Padstow were offered assistance, generally by pilots who would wait at Stepper Point when a ship signalled it would be entering. If a boat was foundering, salvors would step in and help. There were cases where salvors attempted to overstate the danger in court, so as to extort more money from the owners. This happened to the brig The Towan, which foundered in October 1843 but was not in significant danger. Although it did not need assistance, salvors interfered and attempted to claim a large amount in compensation from the owner.In 1827, the recently founded Life-boat Institution helped fund a permanent lifeboat at Padstow, a 23 feet (7.0 m) rowing boat with four oars. The lifeboat house at Hawker's Cove was erected two years later by the Padstow Harbour Association for the Preservation of Life and Property from Shipwreck. Reverend Charles Prideaux-Brune of Prideaux Place was the patron. In 1879, four of his granddaughters and their friend were rowing on the Doom Bar and saw a craft go down. They rowed out to save the drowning sailor. As it was very unusual for women to rescue men all five girls received a Royal National Lifeboat Institution Silver Medal for their bravery.Despite the safer eastern channel and improvements in maritime technology, the Royal National Lifeboat Institution still deals with incidents at the Doom Bar. In February 1997, two fishermen who were not wearing lifejackets drowned after their boat capsized. Two anglers had been killed in a similar incident in 1994. On 25 June 2007, the Padstow lifeboat and a rescue helicopter rescued the crews of two yachts in separate incidents from the area. | Doom Bar 3 | https://en.wikipedia.org/wiki/Doom_Bar | {
"answer_start": [
0
],
"text": [
"The Doom Bar"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was The Towan by when it received help?, using the article: The Doom Bar has accounted for more than 600 beachings, capsizes and wrecks since records began early in the nineteenth century, the majority of which are wrecks.Larger boats entering Padstow were offered assistance, generally by pilots who would wait at Stepper Point when a ship signalled it would be entering. If a boat was foundering, salvors would step in and help. There were cases where salvors attempted to overstate the danger in court, so as to extort more money from the owners. This happened to the brig The Towan, which foundered in October 1843 but was not in significant danger. Although it did not need assistance, salvors interfered and attempted to claim a large amount in compensation from the owner.In 1827, the recently founded Life-boat Institution helped fund a permanent lifeboat at Padstow, a 23 feet (7.0 m) rowing boat with four oars. The lifeboat house at Hawker's Cove was erected two years later by the Padstow Harbour Association for the Preservation of Life and Property from Shipwreck. Reverend Charles Prideaux-Brune of Prideaux Place was the patron. In 1879, four of his granddaughters and their friend were rowing on the Doom Bar and saw a craft go down. They rowed out to save the drowning sailor. As it was very unusual for women to rescue men all five girls received a Royal National Lifeboat Institution Silver Medal for their bravery.Despite the safer eastern channel and improvements in maritime technology, the Royal National Lifeboat Institution still deals with incidents at the Doom Bar. In February 1997, two fishermen who were not wearing lifejackets drowned after their boat capsized. Two anglers had been killed in a similar incident in 1994. On 25 June 2007, the Padstow lifeboat and a rescue helicopter rescued the crews of two yachts in separate incidents from the area., what would be the answer ? | The Doom Bar |
b8de0089715cbfbfebb3a93fff3aa6459595522f | What are the first names of the two people who ask their father to read them a story? | The film begins in a modern home with two children, Andrew and Katie, about to go to bed during a thunderstorm. They ask their father to read them a story to help them feel better about the storm. The father finds a dusty, old book and decides to read the story of Hansel and Gretel.
Hansel and Gretel (Jacob Smith and Taylor Momsen) are living with their father and stepmother in a very tiny shack. The children know their stepmother is evil, but the father does not. Since they are very poor, the father decides to sell Hansel and Gretel's biological mother's necklace, but the stepmother substitutes a pebble. The next day, the stepmother forces the children into taking a walk in the scary forest. Once they get far enough into the forest, the stepmother abandons them.
Afterward, Hansel and Gretel go looking for food and are tricked into going to a lazy troll's (Bobcat Goldthwait) house. They get caught, but are then saved by the Sandman, whom they befriend. They also let Wood Fairy free, whom they also befriend. Throughout the story the Sandman and the fairy are always bickering which causes problems at times. | Hansel and Gretel (2002 film) | https://en.wikipedia.org/wiki/Hansel_and_Gretel_(2002_film) | {
"answer_start": [
52,
63
],
"text": [
"Andrew",
"Katie"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the first names of the two people who ask their father to read them a story?, using the article: The film begins in a modern home with two children, Andrew and Katie, about to go to bed during a thunderstorm. They ask their father to read them a story to help them feel better about the storm. The father finds a dusty, old book and decides to read the story of Hansel and Gretel.
Hansel and Gretel (Jacob Smith and Taylor Momsen) are living with their father and stepmother in a very tiny shack. The children know their stepmother is evil, but the father does not. Since they are very poor, the father decides to sell Hansel and Gretel's biological mother's necklace, but the stepmother substitutes a pebble. The next day, the stepmother forces the children into taking a walk in the scary forest. Once they get far enough into the forest, the stepmother abandons them.
Afterward, Hansel and Gretel go looking for food and are tricked into going to a lazy troll's (Bobcat Goldthwait) house. They get caught, but are then saved by the Sandman, whom they befriend. They also let Wood Fairy free, whom they also befriend. Throughout the story the Sandman and the fairy are always bickering which causes problems at times., what would be the answer ? | Andrew |
dd19f7ddd0ad7f554ca6782c9c23985d0e5ac1fb | What are the first names of the two people who are forced to walk in a scary forest? | The film begins in a modern home with two children, Andrew and Katie, about to go to bed during a thunderstorm. They ask their father to read them a story to help them feel better about the storm. The father finds a dusty, old book and decides to read the story of Hansel and Gretel.
Hansel and Gretel (Jacob Smith and Taylor Momsen) are living with their father and stepmother in a very tiny shack. The children know their stepmother is evil, but the father does not. Since they are very poor, the father decides to sell Hansel and Gretel's biological mother's necklace, but the stepmother substitutes a pebble. The next day, the stepmother forces the children into taking a walk in the scary forest. Once they get far enough into the forest, the stepmother abandons them.
Afterward, Hansel and Gretel go looking for food and are tricked into going to a lazy troll's (Bobcat Goldthwait) house. They get caught, but are then saved by the Sandman, whom they befriend. They also let Wood Fairy free, whom they also befriend. Throughout the story the Sandman and the fairy are always bickering which causes problems at times. | Hansel and Gretel (2002 film) | https://en.wikipedia.org/wiki/Hansel_and_Gretel_(2002_film) | {
"answer_start": [
284,
295
],
"text": [
"Hansel",
"Gretel"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the first names of the two people who are forced to walk in a scary forest?, using the article: The film begins in a modern home with two children, Andrew and Katie, about to go to bed during a thunderstorm. They ask their father to read them a story to help them feel better about the storm. The father finds a dusty, old book and decides to read the story of Hansel and Gretel.
Hansel and Gretel (Jacob Smith and Taylor Momsen) are living with their father and stepmother in a very tiny shack. The children know their stepmother is evil, but the father does not. Since they are very poor, the father decides to sell Hansel and Gretel's biological mother's necklace, but the stepmother substitutes a pebble. The next day, the stepmother forces the children into taking a walk in the scary forest. Once they get far enough into the forest, the stepmother abandons them.
Afterward, Hansel and Gretel go looking for food and are tricked into going to a lazy troll's (Bobcat Goldthwait) house. They get caught, but are then saved by the Sandman, whom they befriend. They also let Wood Fairy free, whom they also befriend. Throughout the story the Sandman and the fairy are always bickering which causes problems at times., what would be the answer ? | Gretel |
6d9e09aa47bc162a05f967eecbbe06bee60f3c7d | Who disguises himself to stop the hunter? | Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East." | Super-Rabbit | https://en.wikipedia.org/wiki/Super-Rabbit | {
"answer_start": [
398
],
"text": [
"Bugs"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who disguises himself to stop the hunter?, using the article: Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East.", what would be the answer ? | Bugs |
acc68a30388edcad7e7c5c9d132964ff64277ade | What is the nickname of the man who shoots at Bugs? | Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East." | Super-Rabbit | https://en.wikipedia.org/wiki/Super-Rabbit | {
"answer_start": [
343
],
"text": [
"Cottontail"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the nickname of the man who shoots at Bugs?, using the article: Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East.", what would be the answer ? | Cottontail |
0955d306d174cc651149120fe1d1323d855170e4 | What name does Professor Cannafraz' test subject take on after eating the carrot? | Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East." | Super-Rabbit | https://en.wikipedia.org/wiki/Super-Rabbit | {
"answer_start": [
288
],
"text": [
"Bugs"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What name does Professor Cannafraz' test subject take on after eating the carrot?, using the article: Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East.", what would be the answer ? | Bugs |
58f34f3e177bcf31b838c201f367ef32012a1ff7 | What does the professor's test subject pretend to be to escape the hunter? | Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East." | Super-Rabbit | https://en.wikipedia.org/wiki/Super-Rabbit | {
"answer_start": [
1524
],
"text": [
"a Marine"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What does the professor's test subject pretend to be to escape the hunter?, using the article: Professor Cannafraz (a Richard Haydn impression) creates a "super carrot" and uses it on his test subject – Rabbitus idioticus americanus, who immediately wolfs down the proffered carrot. Armed with temporary superhero abilities that need to be replenished with additional super carrots, Bugs remembers a newspaper article about Texas hunter "Cottontail" Smith, who wants to hunt down all rabbits.
Bugs flies to Deepinaharta, Texas, and assumes the moniker of a mild-mannered forest creature, complete with oversized glasses and hat. He encounters Smith, who attempts to shoot Bugs, only for the bullets to form an outline of Bugs before harmlessly falling to the ground. Bugs then hands Smith a cannon, eats another carrot then, upon being struck by the cannonball, plays basketball with it, quickly shoving Smith and his horse onto bleachers while he acts as his own cheerleader. After Bugs returns to the air, the bemused Smith and his horse fly into the sky with their own airplane. Bugs then snatches the shell of the plane away from them, plunging them to the ground.
Bugs runs out of power, but when he tries to recharge again, his carrots fall to the ground. When Bugs lands, he opens his eyes to see a line of chewed-up carrots eaten by Smith and his horse-turned-Superhero. Bugs turns to the camera and says "This looks like a job for a REAL Superman!" He ducks into a phone booth. Both Smith and the horse are ready to attack - until the booth opens and they both snap to attention and salute. Bugs marches out in a Marine uniform, singing the "Marines' Hymn." He dismisses the two, claiming he has "important work to do!", and marches off to "Berlin, Tokyo and points East.", what would be the answer ? | a Marine |
de62575f852b0646393b26272531bf13c31c3ffd | What failed to reach its reserve price at auction? | On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
311
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"text": [
"Trafford Park"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What failed to reach its reserve price at auction?, using the article: On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry., what would be the answer ? | Trafford Park |
aaf06b858cf035933f623155159d3e9e7eb56f27 | What are the full names of the people who recognized the benefit of the industrial development of Trafford Park? | On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
402,
1025
],
"text": [
"Ernest Terah Hooley",
"Marshall Stevens"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the full names of the people who recognized the benefit of the industrial development of Trafford Park?, using the article: On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry., what would be the answer ? | Marshall Stevens |
cee9273d86e0f6d58d0762fbcc1769c955c6e6c5 | What is the full name of the person who remained with Trafford Park Estates until 1930? | On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
1025
],
"text": [
"Marshall Stevens"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who remained with Trafford Park Estates until 1930?, using the article: On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry., what would be the answer ? | Marshall Stevens |
40fa934efca808b01dcc65ebf8aeaf9174f68ee9 | What had 40 bedrooms? | On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
1689
],
"text": [
"Trafford Hall"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What had 40 bedrooms?, using the article: On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry., what would be the answer ? | Trafford Hall |
9e4204081f8079c6502a7c729410b60e1e6522ae | Where had 100 American companies moved to by 1915? | The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
68
],
"text": [
"Trafford Park"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Where had 100 American companies moved to by 1915?, using the article: The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923., what would be the answer ? | Trafford Park |
362e0b01d95a44aea03b0eb9949805653b242691 | Where was the place that was used to manufacture munitions, chemicals, and other materials during the First World War? | The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
470
],
"text": [
"Trafford Park"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Where was the place that was used to manufacture munitions, chemicals, and other materials during the First World War?, using the article: The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923., what would be the answer ? | Trafford Park |
f0c8931571906efd78ac1a10a8d915c08dd35753 | What was the full name of the place that the BBC moved out of in 1923? | The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
790
],
"text": [
"Trafford Park"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the full name of the place that the BBC moved out of in 1923?, using the article: The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923., what would be the answer ? | Trafford Park |
e1d85a13312cc7a00da66e1ade8a3a224eb8961a | What was the place that peaked at more than 200 American companies by 1933? | The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
68
],
"text": [
"Trafford Park"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the place that peaked at more than 200 American companies by 1933?, using the article: The second major American company to set up a manufacturing base in Trafford Park was the Ford Motor Company, in 1911. Initially Ford used its factory as an assembly plant for the Model T, although other vehicles were assembled there in later years, before moving to a new factory at Dagenham, Essex, in 1931. By 1915, 100 American companies had moved into the park, peaking at more than 200 by 1933. When the cotton industry began to decline in the early 20th century, Trafford Park and the Manchester Ship Canal helped Manchester – and to a lesser extent the rest of south Lancashire – to weather the economic depression from which the rest of Lancashire suffered. During the First World War the park was used for the manufacture of munitions, chemicals and other materiel. Most firms at Trafford Park succeeded in avoiding bankruptcy during the Great Depression, unlike the rest of Lancashire. Ford moved to Dagenham in 1931, but returned temporarily to Trafford Park during the Second World War.Metropolitan Vickers set up Manchester's and one of the UK's first radio stations at their factory in 1921. The station's first broadcast took place on 17 May 1922. In October that year the company was one of six who formed the British Broadcasting Company (BBC), which started broadcasting from the Metrovicks studio under the call sign 2ZY on 15 November 1922. Much of the station's content was musical, but news, plays, and children's programmes were also transmitted. Conditions in the small 30-by-16-foot (9.1 m × 4.9 m) studio were cramped, and the BBC moved the station to larger premises outside the park in 1923., what would be the answer ? | Trafford Park |
e31451184558972100a7c9a4714fa76c554086fa | What stadium did the team who played at Old Trafford have to locate to after their stadium was damaged by stray bombs? | Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
1961
],
"text": [
"Maine Road"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What stadium did the team who played at Old Trafford have to locate to after their stadium was damaged by stray bombs?, using the article: Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000., what would be the answer ? | Maine Road |
e11cc7e70bc7c8ff40b078359be02197d4bd5149 | What team played permanently at the temporary stadium of the team who usually played at Old Trafford? | Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
1988
],
"text": [
"Manchester City"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What team played permanently at the temporary stadium of the team who usually played at Old Trafford?, using the article: Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000., what would be the answer ? | Manchester City |
7b15b068db25ed6a4e5bc16c9a1feabed31ce730 | How many people worked at the park that produced production of war materiel during the Second World War in 1945? | Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
2164
],
"text": [
"75,000"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: How many people worked at the park that produced production of war materiel during the Second World War in 1945?, using the article: Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000., what would be the answer ? | 75,000 |
7bc69b495b5d86d93f906f13bf330425c962ae71 | What is the name of the building in the area that produced Avro Lancaster heavy bombers that was shutdown and demolished after the war ended? | Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
1341
],
"text": [
"Trafford Hall"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the building in the area that produced Avro Lancaster heavy bombers that was shutdown and demolished after the war ended?, using the article: Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000., what would be the answer ? | Trafford Hall |
432e0e9f07a2d36cacb0b852604f23aad4ac90d1 | The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by which war's end? | Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
78
],
"text": [
"the Second World War"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by which war's end?, using the article: Trafford Park was largely turned over to the production of war materiel during the Second World War, such as the Avro Manchester and Avro Lancaster heavy bombers, and the Rolls-Royce Merlin engines used to power the Spitfire, Hurricane, Mosquito and the Lancaster. The engines were made by Ford, under licence. The 17,316 workers employed in Ford's purpose-built factory had produced 34,000 engines by the war's end. The facility was designed in two separate sections to minimise the impact of bomb damage on production. The wood-working factory of F. Hills & Sons built more than 800 Percival Proctor aircraft for the RAF between 1940 and 1945, which were flight tested at the nearby Barton Aerodrome. Other companies produced gun bearings, steel tracks for Churchill tanks, munitions, Bailey bridges, and much else. ICI built and operated the first facility in the UK able to produce penicillin in quantity.As an important industrial area, the park suffered from extensive bombing, particularly during the Manchester Blitz of December 1940. On the night of 23 December 1940, the Metropolitan-Vickers aircraft factory in Mosley Road was badly damaged, with the loss of the first 13 MV-built Avro Manchester bombers in final assembly. The new Ford factory producing aircraft engines was bombed only a few days after its opening in May 1941. Trafford Hall was severely damaged by bombing, and was demolished shortly after the war ended.In the December 1940 air raids, stray bombs aiming for Trafford Park landed on Old Trafford football stadium, the nearby home of Manchester United, but this air raid only resulted in minor damage and matches were soon being played at the stadium again. On 11 March 1941, however, stray bombs aimed at Trafford Park fell onto Old Trafford for a second time, causing serious damage to the stadium. It was comprehensively rebuilt after the war and re-opened in 1949, until which time Manchester United played their home games at Maine Road, the stadium of Manchester City in Moss Side.At the outbreak of war in 1939 there were an estimated 50,000 workers employed in the park. By the end of the war in 1945 that number had risen to 75,000, probably the peak size of the park's workforce; Metropolitan-Vickers alone employed 26,000., what would be the answer ? | the Second World War |
dd5223e2426a47d46a4fb3067a26b371b51c5993 | What is the name of the park in whose eastern area at the end of the 19th century was under the local government control of Stretford Urban District? | The eastern area of the park, where the first developments took place at the end of the 19th century, was then under the local government control of Stretford Urban District; the west was controlled by the urban district of Barton-upon-Irwell. Tensions soon began to emerge between the Estates Company and Stretford Council over the provision of local services and infrastructure. In 1902, W. T. Glover & Co, a cable manufacturing company that had moved to the park from nearby Salford, built a power station next to their works to supply electricity to the rest of the park; the Estates Company had previously approached Manchester Corporation, but Stretford would not allow another local authority to supply electricity within its area.In 1901 Manchester Corporation formally proposed a merger with Stretford UDC, on the basis that Stretford's growth was due in large part to Trafford Park, the growth of which in turn was largely due to the Manchester Ship Canal. Manchester Corporation had provided one-third of the capital needed to build the ship canal, for which it had doubled its municipal debt, despite having also increased rates by 26 per cent between 1892 and 1895. Stretford and Lancashire County Council opposed the merger, which was rejected following a government inquiry. In 1969 Pevsner wrote: "That [neighbouring] Stretford and Salford are not administratively one with Manchester is one of the most curious anomalies of England."The tensions between Stretford and the Estates Company began to come to a head in 1906, when in response to complaints in the press about the state of one particular road in the park, Trafford Park Road, Stretford issued formal notices demanding that all premises with frontage onto the road pay for its improvement. Further disputes over the standard of roads in the park followed until, in 1907, the Estates Company presented a petition to Lancashire County Council demanding that Trafford Park should be an urban district in its own right, independent of Stretford. The county council dismissed the petition, but later that year, following a petition organised by the Trafford Park Ratepayers Association, a new local government ward, Park Ward, was created within Stretford, The new ward did not include the western part of the park however, which remained under the control of Barton-upon-Irwell.As a consequence of the Local Government Act 1972, the borough of Stretford was abolished and Trafford Park has, since 1 April 1974, formed part of the Metropolitan Borough of Trafford. As of 2010, the park is in the Trafford ward of Gorse Hill. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
878
],
"text": [
"Trafford Park"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the park in whose eastern area at the end of the 19th century was under the local government control of Stretford Urban District?, using the article: The eastern area of the park, where the first developments took place at the end of the 19th century, was then under the local government control of Stretford Urban District; the west was controlled by the urban district of Barton-upon-Irwell. Tensions soon began to emerge between the Estates Company and Stretford Council over the provision of local services and infrastructure. In 1902, W. T. Glover & Co, a cable manufacturing company that had moved to the park from nearby Salford, built a power station next to their works to supply electricity to the rest of the park; the Estates Company had previously approached Manchester Corporation, but Stretford would not allow another local authority to supply electricity within its area.In 1901 Manchester Corporation formally proposed a merger with Stretford UDC, on the basis that Stretford's growth was due in large part to Trafford Park, the growth of which in turn was largely due to the Manchester Ship Canal. Manchester Corporation had provided one-third of the capital needed to build the ship canal, for which it had doubled its municipal debt, despite having also increased rates by 26 per cent between 1892 and 1895. Stretford and Lancashire County Council opposed the merger, which was rejected following a government inquiry. In 1969 Pevsner wrote: "That [neighbouring] Stretford and Salford are not administratively one with Manchester is one of the most curious anomalies of England."The tensions between Stretford and the Estates Company began to come to a head in 1906, when in response to complaints in the press about the state of one particular road in the park, Trafford Park Road, Stretford issued formal notices demanding that all premises with frontage onto the road pay for its improvement. Further disputes over the standard of roads in the park followed until, in 1907, the Estates Company presented a petition to Lancashire County Council demanding that Trafford Park should be an urban district in its own right, independent of Stretford. The county council dismissed the petition, but later that year, following a petition organised by the Trafford Park Ratepayers Association, a new local government ward, Park Ward, was created within Stretford, The new ward did not include the western part of the park however, which remained under the control of Barton-upon-Irwell.As a consequence of the Local Government Act 1972, the borough of Stretford was abolished and Trafford Park has, since 1 April 1974, formed part of the Metropolitan Borough of Trafford. As of 2010, the park is in the Trafford ward of Gorse Hill., what would be the answer ? | Trafford Park |
ccdf165c4fdc05dfdbe4685753e03b4810186c87 | What is the name of the park to which W. T. Glover & Co had moved in 1902? | The eastern area of the park, where the first developments took place at the end of the 19th century, was then under the local government control of Stretford Urban District; the west was controlled by the urban district of Barton-upon-Irwell. Tensions soon began to emerge between the Estates Company and Stretford Council over the provision of local services and infrastructure. In 1902, W. T. Glover & Co, a cable manufacturing company that had moved to the park from nearby Salford, built a power station next to their works to supply electricity to the rest of the park; the Estates Company had previously approached Manchester Corporation, but Stretford would not allow another local authority to supply electricity within its area.In 1901 Manchester Corporation formally proposed a merger with Stretford UDC, on the basis that Stretford's growth was due in large part to Trafford Park, the growth of which in turn was largely due to the Manchester Ship Canal. Manchester Corporation had provided one-third of the capital needed to build the ship canal, for which it had doubled its municipal debt, despite having also increased rates by 26 per cent between 1892 and 1895. Stretford and Lancashire County Council opposed the merger, which was rejected following a government inquiry. In 1969 Pevsner wrote: "That [neighbouring] Stretford and Salford are not administratively one with Manchester is one of the most curious anomalies of England."The tensions between Stretford and the Estates Company began to come to a head in 1906, when in response to complaints in the press about the state of one particular road in the park, Trafford Park Road, Stretford issued formal notices demanding that all premises with frontage onto the road pay for its improvement. Further disputes over the standard of roads in the park followed until, in 1907, the Estates Company presented a petition to Lancashire County Council demanding that Trafford Park should be an urban district in its own right, independent of Stretford. The county council dismissed the petition, but later that year, following a petition organised by the Trafford Park Ratepayers Association, a new local government ward, Park Ward, was created within Stretford, The new ward did not include the western part of the park however, which remained under the control of Barton-upon-Irwell.As a consequence of the Local Government Act 1972, the borough of Stretford was abolished and Trafford Park has, since 1 April 1974, formed part of the Metropolitan Borough of Trafford. As of 2010, the park is in the Trafford ward of Gorse Hill. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
878
],
"text": [
"Trafford Park"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the park to which W. T. Glover & Co had moved in 1902?, using the article: The eastern area of the park, where the first developments took place at the end of the 19th century, was then under the local government control of Stretford Urban District; the west was controlled by the urban district of Barton-upon-Irwell. Tensions soon began to emerge between the Estates Company and Stretford Council over the provision of local services and infrastructure. In 1902, W. T. Glover & Co, a cable manufacturing company that had moved to the park from nearby Salford, built a power station next to their works to supply electricity to the rest of the park; the Estates Company had previously approached Manchester Corporation, but Stretford would not allow another local authority to supply electricity within its area.In 1901 Manchester Corporation formally proposed a merger with Stretford UDC, on the basis that Stretford's growth was due in large part to Trafford Park, the growth of which in turn was largely due to the Manchester Ship Canal. Manchester Corporation had provided one-third of the capital needed to build the ship canal, for which it had doubled its municipal debt, despite having also increased rates by 26 per cent between 1892 and 1895. Stretford and Lancashire County Council opposed the merger, which was rejected following a government inquiry. In 1969 Pevsner wrote: "That [neighbouring] Stretford and Salford are not administratively one with Manchester is one of the most curious anomalies of England."The tensions between Stretford and the Estates Company began to come to a head in 1906, when in response to complaints in the press about the state of one particular road in the park, Trafford Park Road, Stretford issued formal notices demanding that all premises with frontage onto the road pay for its improvement. Further disputes over the standard of roads in the park followed until, in 1907, the Estates Company presented a petition to Lancashire County Council demanding that Trafford Park should be an urban district in its own right, independent of Stretford. The county council dismissed the petition, but later that year, following a petition organised by the Trafford Park Ratepayers Association, a new local government ward, Park Ward, was created within Stretford, The new ward did not include the western part of the park however, which remained under the control of Barton-upon-Irwell.As a consequence of the Local Government Act 1972, the borough of Stretford was abolished and Trafford Park has, since 1 April 1974, formed part of the Metropolitan Borough of Trafford. As of 2010, the park is in the Trafford ward of Gorse Hill., what would be the answer ? | Trafford Park |
7d7d40746bb649fdfa6e9754717bdd6286422ab0 | What is the first name of the person whose land was acquired? | In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
42
],
"text": [
"Edmund"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person whose land was acquired?, using the article: In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining., what would be the answer ? | Edmund |
f13534ed6b28a9331caec6371bc1ff60525a2274 | What is the nickname of the area where development was completed in 1904? | In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
208
],
"text": [
"The Village"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the nickname of the area where development was completed in 1904?, using the article: In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining., what would be the answer ? | The Village |
7ac5f3ea19805cbc12651bea1705caa73b7b56c3 | Which two of the three original churches no longer remain open? | In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining. | Trafford Park | https://en.wikipedia.org/wiki/Trafford_Park | {
"answer_start": [
1132,
1020
],
"text": [
"St Cuthbert's",
"Methodist chapel"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Which two of the three original churches no longer remain open?, using the article: In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining., what would be the answer ? | St Cuthbert's |
54bb674416b66a590ffd72c2681854ee76af6397 | What is the first names of the people who retreat to a room away from a party? | Jonah is a young man without a care in the world. At one of his parties, the power goes out because Jonah has not paid his electric bill, but it gets turned back on thanks to his neighbor. Jonah meets up with Becky and they retreat up to his room away from the party, only for Becky to find a lump in Jonah's testicle. Jonah goes to see a doctor, who reveals that Jonah has testicular cancer. He tells Jonah that they can remove it in time, but Jonah's upset that he won't be able to father children. The doctor suggests that Jonah uses a sperm bank in the event that he would like to have children after the operation.
Now at a sperm bank, Jonah is left in a room to privately produce his semen. After he is finished, he returns home to his best friends and fellow party hosts, Stevie and Gus. When Stevie arrives home from work, Gus blurts out that Jonah has cancer, much to Jonah's dismay. Gus asks if he would still like to have the party scheduled for the coming Friday, and Jonah allows them to keep the date, not wanting to explain his condition to party-goers.
Jonah receives a call from the sperm bank and goes in for a meeting. The nurse explains that Jonah falls into a small percentage of men whose sperm cannot be frozen because of biological complications. Jonah asks what other options there are, now very worried that he will never have children. The nurse replies with, "Well, do you have a girlfriend?"
Jonah then begins the complicated journey of finding a woman to carry his child. He first approaches his ex-girlfriend Ava who is disgusted with Jonah for even contacting her. He then tries Becky (or "Stalker Becky" as Gus calls her) who rejects him by claiming she never thought of her and Jonah as a couple. Jonah never tells the girls he asks that he has cancer. Jonah goes back to the doctor to ask for more time and moves his operation three weeks. | Not Suitable for Children | https://en.wikipedia.org/wiki/Not_Suitable_for_Children | {
"answer_start": [
0,
364
],
"text": [
"Jonah",
"Jonah"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first names of the people who retreat to a room away from a party?, using the article: Jonah is a young man without a care in the world. At one of his parties, the power goes out because Jonah has not paid his electric bill, but it gets turned back on thanks to his neighbor. Jonah meets up with Becky and they retreat up to his room away from the party, only for Becky to find a lump in Jonah's testicle. Jonah goes to see a doctor, who reveals that Jonah has testicular cancer. He tells Jonah that they can remove it in time, but Jonah's upset that he won't be able to father children. The doctor suggests that Jonah uses a sperm bank in the event that he would like to have children after the operation.
Now at a sperm bank, Jonah is left in a room to privately produce his semen. After he is finished, he returns home to his best friends and fellow party hosts, Stevie and Gus. When Stevie arrives home from work, Gus blurts out that Jonah has cancer, much to Jonah's dismay. Gus asks if he would still like to have the party scheduled for the coming Friday, and Jonah allows them to keep the date, not wanting to explain his condition to party-goers.
Jonah receives a call from the sperm bank and goes in for a meeting. The nurse explains that Jonah falls into a small percentage of men whose sperm cannot be frozen because of biological complications. Jonah asks what other options there are, now very worried that he will never have children. The nurse replies with, "Well, do you have a girlfriend?"
Jonah then begins the complicated journey of finding a woman to carry his child. He first approaches his ex-girlfriend Ava who is disgusted with Jonah for even contacting her. He then tries Becky (or "Stalker Becky" as Gus calls her) who rejects him by claiming she never thought of her and Jonah as a couple. Jonah never tells the girls he asks that he has cancer. Jonah goes back to the doctor to ask for more time and moves his operation three weeks., what would be the answer ? | Jonah |
674c2096545a0feb9525462efd48f9d8fcc576ba | Who approaches their ex-girlfriend? | Jonah is a young man without a care in the world. At one of his parties, the power goes out because Jonah has not paid his electric bill, but it gets turned back on thanks to his neighbor. Jonah meets up with Becky and they retreat up to his room away from the party, only for Becky to find a lump in Jonah's testicle. Jonah goes to see a doctor, who reveals that Jonah has testicular cancer. He tells Jonah that they can remove it in time, but Jonah's upset that he won't be able to father children. The doctor suggests that Jonah uses a sperm bank in the event that he would like to have children after the operation.
Now at a sperm bank, Jonah is left in a room to privately produce his semen. After he is finished, he returns home to his best friends and fellow party hosts, Stevie and Gus. When Stevie arrives home from work, Gus blurts out that Jonah has cancer, much to Jonah's dismay. Gus asks if he would still like to have the party scheduled for the coming Friday, and Jonah allows them to keep the date, not wanting to explain his condition to party-goers.
Jonah receives a call from the sperm bank and goes in for a meeting. The nurse explains that Jonah falls into a small percentage of men whose sperm cannot be frozen because of biological complications. Jonah asks what other options there are, now very worried that he will never have children. The nurse replies with, "Well, do you have a girlfriend?"
Jonah then begins the complicated journey of finding a woman to carry his child. He first approaches his ex-girlfriend Ava who is disgusted with Jonah for even contacting her. He then tries Becky (or "Stalker Becky" as Gus calls her) who rejects him by claiming she never thought of her and Jonah as a couple. Jonah never tells the girls he asks that he has cancer. Jonah goes back to the doctor to ask for more time and moves his operation three weeks. | Not Suitable for Children | https://en.wikipedia.org/wiki/Not_Suitable_for_Children | {
"answer_start": [
1421
],
"text": [
"Jonah"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who approaches their ex-girlfriend?, using the article: Jonah is a young man without a care in the world. At one of his parties, the power goes out because Jonah has not paid his electric bill, but it gets turned back on thanks to his neighbor. Jonah meets up with Becky and they retreat up to his room away from the party, only for Becky to find a lump in Jonah's testicle. Jonah goes to see a doctor, who reveals that Jonah has testicular cancer. He tells Jonah that they can remove it in time, but Jonah's upset that he won't be able to father children. The doctor suggests that Jonah uses a sperm bank in the event that he would like to have children after the operation.
Now at a sperm bank, Jonah is left in a room to privately produce his semen. After he is finished, he returns home to his best friends and fellow party hosts, Stevie and Gus. When Stevie arrives home from work, Gus blurts out that Jonah has cancer, much to Jonah's dismay. Gus asks if he would still like to have the party scheduled for the coming Friday, and Jonah allows them to keep the date, not wanting to explain his condition to party-goers.
Jonah receives a call from the sperm bank and goes in for a meeting. The nurse explains that Jonah falls into a small percentage of men whose sperm cannot be frozen because of biological complications. Jonah asks what other options there are, now very worried that he will never have children. The nurse replies with, "Well, do you have a girlfriend?"
Jonah then begins the complicated journey of finding a woman to carry his child. He first approaches his ex-girlfriend Ava who is disgusted with Jonah for even contacting her. He then tries Becky (or "Stalker Becky" as Gus calls her) who rejects him by claiming she never thought of her and Jonah as a couple. Jonah never tells the girls he asks that he has cancer. Jonah goes back to the doctor to ask for more time and moves his operation three weeks., what would be the answer ? | Jonah |
d76fc6342425579e991571c6d345fa54108e95a3 | Who has dreams about Moore's life? | Marty is a high-powered single literary agent in Manhattan. Marie (also Moore) is a widow in Provence with two daughters and a peaceful life. Marty has been seeing a therapist to deal with her vivid dreams of Marie's life; when Marie falls asleep she dreams Marty's life, but is much less disturbed by it. Each woman is convinced that the other is a figment of her imagination. When Marty meets Aaron they become friends and eventually lovers; terrified that her vivid other life means that she's losing her mind, Marty does not want to tell Aaron about it but finally does. Marie, meanwhile, has met William; she too is reluctant to tell William about her dreams, particularly since she (as Marty) is falling in love with Aaron, but realizes that she cannot keep such an important part of her life a secret.
The two men react very differently: William is jealous, while Aaron is skeptical but not at all threatened, and wants only for Marty to be happy. Dreams and real life begin to merge when Marie goes on holiday with William to Paris, and Marty wakes up with an ashtray from the hotel on her night stand. Eventually Marty/Marie must come to terms with reality and choose which life is real and which is illusion. | Passion of Mind | https://en.wikipedia.org/wiki/Passion_of_Mind | {
"answer_start": [
0
],
"text": [
"Marty"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who has dreams about Moore's life?, using the article: Marty is a high-powered single literary agent in Manhattan. Marie (also Moore) is a widow in Provence with two daughters and a peaceful life. Marty has been seeing a therapist to deal with her vivid dreams of Marie's life; when Marie falls asleep she dreams Marty's life, but is much less disturbed by it. Each woman is convinced that the other is a figment of her imagination. When Marty meets Aaron they become friends and eventually lovers; terrified that her vivid other life means that she's losing her mind, Marty does not want to tell Aaron about it but finally does. Marie, meanwhile, has met William; she too is reluctant to tell William about her dreams, particularly since she (as Marty) is falling in love with Aaron, but realizes that she cannot keep such an important part of her life a secret.
The two men react very differently: William is jealous, while Aaron is skeptical but not at all threatened, and wants only for Marty to be happy. Dreams and real life begin to merge when Marie goes on holiday with William to Paris, and Marty wakes up with an ashtray from the hotel on her night stand. Eventually Marty/Marie must come to terms with reality and choose which life is real and which is illusion., what would be the answer ? | Marty |
ca7f97d23b709bcd1e8b9ed50f65bd7e6463a9a2 | Who eventually tells Aaron about their dreams? | Marty is a high-powered single literary agent in Manhattan. Marie (also Moore) is a widow in Provence with two daughters and a peaceful life. Marty has been seeing a therapist to deal with her vivid dreams of Marie's life; when Marie falls asleep she dreams Marty's life, but is much less disturbed by it. Each woman is convinced that the other is a figment of her imagination. When Marty meets Aaron they become friends and eventually lovers; terrified that her vivid other life means that she's losing her mind, Marty does not want to tell Aaron about it but finally does. Marie, meanwhile, has met William; she too is reluctant to tell William about her dreams, particularly since she (as Marty) is falling in love with Aaron, but realizes that she cannot keep such an important part of her life a secret.
The two men react very differently: William is jealous, while Aaron is skeptical but not at all threatened, and wants only for Marty to be happy. Dreams and real life begin to merge when Marie goes on holiday with William to Paris, and Marty wakes up with an ashtray from the hotel on her night stand. Eventually Marty/Marie must come to terms with reality and choose which life is real and which is illusion. | Passion of Mind | https://en.wikipedia.org/wiki/Passion_of_Mind | {
"answer_start": [
383
],
"text": [
"Marty"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who eventually tells Aaron about their dreams?, using the article: Marty is a high-powered single literary agent in Manhattan. Marie (also Moore) is a widow in Provence with two daughters and a peaceful life. Marty has been seeing a therapist to deal with her vivid dreams of Marie's life; when Marie falls asleep she dreams Marty's life, but is much less disturbed by it. Each woman is convinced that the other is a figment of her imagination. When Marty meets Aaron they become friends and eventually lovers; terrified that her vivid other life means that she's losing her mind, Marty does not want to tell Aaron about it but finally does. Marie, meanwhile, has met William; she too is reluctant to tell William about her dreams, particularly since she (as Marty) is falling in love with Aaron, but realizes that she cannot keep such an important part of her life a secret.
The two men react very differently: William is jealous, while Aaron is skeptical but not at all threatened, and wants only for Marty to be happy. Dreams and real life begin to merge when Marie goes on holiday with William to Paris, and Marty wakes up with an ashtray from the hotel on her night stand. Eventually Marty/Marie must come to terms with reality and choose which life is real and which is illusion., what would be the answer ? | Marty |
f0855a2196ceb0605ffc60cef05f814f3f7da306 | What responsibility does Count Downe want no part of? | After the killing of his father (Count Dracula, the King of the Netherworld), by a mysterious assassin, Count Downe is summoned from his travels abroad by family advisor Merlin in order to prepare him to take over the throne. Baron Frankenstein is also on hand to help in any way he can. Problem is, Downe wants no part of this responsibility, and instead wishes to become human and mortal − especially after meeting a girl named Amber, with whom he falls in love. He approaches old family nemesis Dr Van Helsing, who agrees to enable the Count's transformation, much to the dismay of the residents of the Netherworld.
Despite the best efforts of a host of monsters, as well as one traitorous figure who is dealt with by the trusted Merlin, Van Helsing performs the operation and removes Downe's fangs. He then informs the Count that he can now live out his days in the sunlight, with Amber at his side.
Keith Moon of The Who and John Bonham of Led Zeppelin both appear in the film, alternating as drummer in Count Downe's band. Other band members include Klaus Voormann (another old friend of Starr's), Peter Frampton, an uncredited Leon Russell, and the regular Rolling Stones horn section of Bobby Keys and Jim Price. | Son of Dracula (1974 film) | https://en.wikipedia.org/wiki/Son_of_Dracula_(1974_film) | {
"answer_start": [
204
],
"text": [
"take over the throne"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What responsibility does Count Downe want no part of?, using the article: After the killing of his father (Count Dracula, the King of the Netherworld), by a mysterious assassin, Count Downe is summoned from his travels abroad by family advisor Merlin in order to prepare him to take over the throne. Baron Frankenstein is also on hand to help in any way he can. Problem is, Downe wants no part of this responsibility, and instead wishes to become human and mortal − especially after meeting a girl named Amber, with whom he falls in love. He approaches old family nemesis Dr Van Helsing, who agrees to enable the Count's transformation, much to the dismay of the residents of the Netherworld.
Despite the best efforts of a host of monsters, as well as one traitorous figure who is dealt with by the trusted Merlin, Van Helsing performs the operation and removes Downe's fangs. He then informs the Count that he can now live out his days in the sunlight, with Amber at his side.
Keith Moon of The Who and John Bonham of Led Zeppelin both appear in the film, alternating as drummer in Count Downe's band. Other band members include Klaus Voormann (another old friend of Starr's), Peter Frampton, an uncredited Leon Russell, and the regular Rolling Stones horn section of Bobby Keys and Jim Price., what would be the answer ? | take over the throne |
97695261bbf1b4252038a825f0de9bc6b5faf778 | Who can live out his days in the sun with Amber as a result of having his fangs removed? | After the killing of his father (Count Dracula, the King of the Netherworld), by a mysterious assassin, Count Downe is summoned from his travels abroad by family advisor Merlin in order to prepare him to take over the throne. Baron Frankenstein is also on hand to help in any way he can. Problem is, Downe wants no part of this responsibility, and instead wishes to become human and mortal − especially after meeting a girl named Amber, with whom he falls in love. He approaches old family nemesis Dr Van Helsing, who agrees to enable the Count's transformation, much to the dismay of the residents of the Netherworld.
Despite the best efforts of a host of monsters, as well as one traitorous figure who is dealt with by the trusted Merlin, Van Helsing performs the operation and removes Downe's fangs. He then informs the Count that he can now live out his days in the sunlight, with Amber at his side.
Keith Moon of The Who and John Bonham of Led Zeppelin both appear in the film, alternating as drummer in Count Downe's band. Other band members include Klaus Voormann (another old friend of Starr's), Peter Frampton, an uncredited Leon Russell, and the regular Rolling Stones horn section of Bobby Keys and Jim Price. | Son of Dracula (1974 film) | https://en.wikipedia.org/wiki/Son_of_Dracula_(1974_film) | {
"answer_start": [
104
],
"text": [
"Count Downe"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who can live out his days in the sun with Amber as a result of having his fangs removed?, using the article: After the killing of his father (Count Dracula, the King of the Netherworld), by a mysterious assassin, Count Downe is summoned from his travels abroad by family advisor Merlin in order to prepare him to take over the throne. Baron Frankenstein is also on hand to help in any way he can. Problem is, Downe wants no part of this responsibility, and instead wishes to become human and mortal − especially after meeting a girl named Amber, with whom he falls in love. He approaches old family nemesis Dr Van Helsing, who agrees to enable the Count's transformation, much to the dismay of the residents of the Netherworld.
Despite the best efforts of a host of monsters, as well as one traitorous figure who is dealt with by the trusted Merlin, Van Helsing performs the operation and removes Downe's fangs. He then informs the Count that he can now live out his days in the sunlight, with Amber at his side.
Keith Moon of The Who and John Bonham of Led Zeppelin both appear in the film, alternating as drummer in Count Downe's band. Other band members include Klaus Voormann (another old friend of Starr's), Peter Frampton, an uncredited Leon Russell, and the regular Rolling Stones horn section of Bobby Keys and Jim Price., what would be the answer ? | Count Downe |
ae527556aabbeab5c82517f0abfe52d221804e1d | Who asks Dr. Van Helsing to perform an operation? | After the killing of his father (Count Dracula, the King of the Netherworld), by a mysterious assassin, Count Downe is summoned from his travels abroad by family advisor Merlin in order to prepare him to take over the throne. Baron Frankenstein is also on hand to help in any way he can. Problem is, Downe wants no part of this responsibility, and instead wishes to become human and mortal − especially after meeting a girl named Amber, with whom he falls in love. He approaches old family nemesis Dr Van Helsing, who agrees to enable the Count's transformation, much to the dismay of the residents of the Netherworld.
Despite the best efforts of a host of monsters, as well as one traitorous figure who is dealt with by the trusted Merlin, Van Helsing performs the operation and removes Downe's fangs. He then informs the Count that he can now live out his days in the sunlight, with Amber at his side.
Keith Moon of The Who and John Bonham of Led Zeppelin both appear in the film, alternating as drummer in Count Downe's band. Other band members include Klaus Voormann (another old friend of Starr's), Peter Frampton, an uncredited Leon Russell, and the regular Rolling Stones horn section of Bobby Keys and Jim Price. | Son of Dracula (1974 film) | https://en.wikipedia.org/wiki/Son_of_Dracula_(1974_film) | {
"answer_start": [
104
],
"text": [
"Count Downe"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who asks Dr. Van Helsing to perform an operation?, using the article: After the killing of his father (Count Dracula, the King of the Netherworld), by a mysterious assassin, Count Downe is summoned from his travels abroad by family advisor Merlin in order to prepare him to take over the throne. Baron Frankenstein is also on hand to help in any way he can. Problem is, Downe wants no part of this responsibility, and instead wishes to become human and mortal − especially after meeting a girl named Amber, with whom he falls in love. He approaches old family nemesis Dr Van Helsing, who agrees to enable the Count's transformation, much to the dismay of the residents of the Netherworld.
Despite the best efforts of a host of monsters, as well as one traitorous figure who is dealt with by the trusted Merlin, Van Helsing performs the operation and removes Downe's fangs. He then informs the Count that he can now live out his days in the sunlight, with Amber at his side.
Keith Moon of The Who and John Bonham of Led Zeppelin both appear in the film, alternating as drummer in Count Downe's band. Other band members include Klaus Voormann (another old friend of Starr's), Peter Frampton, an uncredited Leon Russell, and the regular Rolling Stones horn section of Bobby Keys and Jim Price., what would be the answer ? | Count Downe |
3a73b7d17e976af7fbc20a15fa6825a359818b1d | What are the names of the people Derek has an adversarial relationship with? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
478,
504
],
"text": [
"Tracy",
"Lily"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the names of the people Derek has an adversarial relationship with?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Lily |
967a500c266402df7a48f641266c0a1aad519b77 | What is the first name of the person who buys black market supplies from another tooth fairy? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
1015
],
"text": [
"Derek"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who buys black market supplies from another tooth fairy?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Derek |
10b7060a3c38d3d021a228c106ef00bc0561c3cd | What is the first name of the person who knocks out people's teeth? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
155
],
"text": [
"Derek"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who knocks out people's teeth?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Derek |
83d8972ce844a2eb849df60c5f889d7c6893f408 | Who is told that the tooth fairy doesn't exist? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
241
],
"text": [
"Tess"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who is told that the tooth fairy doesn't exist?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Tess |
e8f29e7b1bca4e8ce241882895696397fc687d9c | What is the first name of the person who grows wings? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
155
],
"text": [
"Derek"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who grows wings?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Derek |
b4de9a24c9403ed7c3abaa267182056bf0ecc7cf | What is the first name of the person who receives a magical summons from under his pillow? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
155
],
"text": [
"Derek"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who receives a magical summons from under his pillow?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Derek |
61830a5ef39735f2eedb453ed1f4bd711b1e5cbf | What is the first name of the person who meets their case worker? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
155
],
"text": [
"Derek"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who meets their case worker?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Derek |
da12f6a6a53f078b84d928831f4fc6d433f3f1ae | What is the first name of the person who is transported to the realm of tooth fairies? | Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out. | Tooth Fairy (2010 film) | https://en.wikipedia.org/wiki/Tooth_Fairy_(2010_film) | {
"answer_start": [
155
],
"text": [
"Derek"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who is transported to the realm of tooth fairies?, using the article: Derek Thompson is a minor league hockey player nicknamed the "Tooth Fairy" for hitting opposing players so hard that he knocks out their teeth. One night, Derek steals a dollar from his girlfriend Carly's (Ashley Judd) six-year-old daughter Tess that had been left for her lost tooth and tells her that the tooth fairy doesn't exist. Then he receives a magical summons under his pillow. He grows wings and is transported to the realm of tooth fairies. He meets his case worker, Tracy and the head fairy, Lily. He has an adversarial relationship with them. Lily tells Derek that he is a "dream crusher," due to his unsympathetic dealings with children like Tess. He is sentenced to serve two weeks as a tooth fairy. Later, he meets Jerry, who gives him his tooth fairy supplies, which include "Shrinking Paste," "Invisible Spray," and "Amnesia Dust."
Carly's teenage son, Randy dislikes Derek. Randy wants to grow up to be a heavy metal star. When Derek defends Randy against a bully, he begins to win him over, and Derek begins teaching him to play his electric guitar better so he can win a talent show.
Derek visits several children and tries his best to be a good tooth fairy, but ends up causing more harm than good. Lily says that he is the worst tooth fairy ever and denies him more supplies for the remainder of his sentence. He buys black market supplies from another fairy named Ziggy, but they malfunction and he is seen by a child's mother and arrested. While behind bars, Tracy tells Derek that his duty is extended to three weeks. Carly bails Derek out., what would be the answer ? | Derek |
fd02d30e11d26bf774ae63f1840c9e36ff85fa5f | What is the last name of the writer that said the college that is west of the city centre of Oxford was "a hodge-podge from the start"? | The buildings of Nuffield College, one of the colleges of the University of Oxford, are to the west of the city centre of Oxford, England, and stand on the site of the basin of the Oxford Canal. Nuffield College was founded in 1937 after a donation to the University by the car manufacturer Lord Nuffield; he gave land for the college, as well as £900,000 (approximately £246 million in present-day terms) to build and endow it. The architect Austen Harrison, who had worked in Greece and Palestine, was appointed by the University to design the buildings. His initial design, heavily influenced by Mediterranean architecture, was rejected by Nuffield, who called it "un-English" and refused to allow his name to be associated with it. Harrison reworked the plans, aiming for "something on the lines of Cotswold domestic architecture", as Nuffield wanted.
Construction of the second design began in 1949 and was finished in 1960. Progress was hampered by post-war building restrictions, and the effects of inflation on Nuffield's donation led to various cost-saving changes to the plans. In one change, the tower, which had been planned to be ornamental, was redesigned to hold the college's library. It was the first tower built in Oxford for 200 years and is about 150 feet (46 m) tall, including the flèche on top. The buildings are arranged around two quadrangles, with residential accommodation for students and fellows in one, and the hall, library and administrative offices in the other. The chapel has stained glass windows designed by John Piper.
The architectural historian Sir Howard Colvin said that Harrison's first design was Oxford's "most notable architectural casualty of the 1930s"; it has also been described as a "missed opportunity" to show that Oxford did not live "only in the past". Reaction to the architecture of the college has been largely unfavourable. In the 1960s, it was described as "Oxford's biggest monument to barren reaction". The tower has been described as "ungainly", and marred by repetitive windows. The travel writer Jan Morris wrote that the college was "a hodge-podge from the start". However, the architectural historian Sir Nikolaus Pevsner, although unimpressed with most of the college, thought that the tower helped the Oxford skyline and predicted it would "one day be loved". The writer Simon Jenkins doubted Pevsner's prediction, and claimed that "vegetation" was the "best hope" for the tower – as well as the rest of the college. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
2065
],
"text": [
"Morris"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the writer that said the college that is west of the city centre of Oxford was "a hodge-podge from the start"?, using the article: The buildings of Nuffield College, one of the colleges of the University of Oxford, are to the west of the city centre of Oxford, England, and stand on the site of the basin of the Oxford Canal. Nuffield College was founded in 1937 after a donation to the University by the car manufacturer Lord Nuffield; he gave land for the college, as well as £900,000 (approximately £246 million in present-day terms) to build and endow it. The architect Austen Harrison, who had worked in Greece and Palestine, was appointed by the University to design the buildings. His initial design, heavily influenced by Mediterranean architecture, was rejected by Nuffield, who called it "un-English" and refused to allow his name to be associated with it. Harrison reworked the plans, aiming for "something on the lines of Cotswold domestic architecture", as Nuffield wanted.
Construction of the second design began in 1949 and was finished in 1960. Progress was hampered by post-war building restrictions, and the effects of inflation on Nuffield's donation led to various cost-saving changes to the plans. In one change, the tower, which had been planned to be ornamental, was redesigned to hold the college's library. It was the first tower built in Oxford for 200 years and is about 150 feet (46 m) tall, including the flèche on top. The buildings are arranged around two quadrangles, with residential accommodation for students and fellows in one, and the hall, library and administrative offices in the other. The chapel has stained glass windows designed by John Piper.
The architectural historian Sir Howard Colvin said that Harrison's first design was Oxford's "most notable architectural casualty of the 1930s"; it has also been described as a "missed opportunity" to show that Oxford did not live "only in the past". Reaction to the architecture of the college has been largely unfavourable. In the 1960s, it was described as "Oxford's biggest monument to barren reaction". The tower has been described as "ungainly", and marred by repetitive windows. The travel writer Jan Morris wrote that the college was "a hodge-podge from the start". However, the architectural historian Sir Nikolaus Pevsner, although unimpressed with most of the college, thought that the tower helped the Oxford skyline and predicted it would "one day be loved". The writer Simon Jenkins doubted Pevsner's prediction, and claimed that "vegetation" was the "best hope" for the tower – as well as the rest of the college., what would be the answer ? | Morris |
053264a4604b70e52edafa603286abadd8b53a12 | What is the last name of the historian that predicted the tower on the college that's second design was finished in 1960 would "one day be loved"? | The buildings of Nuffield College, one of the colleges of the University of Oxford, are to the west of the city centre of Oxford, England, and stand on the site of the basin of the Oxford Canal. Nuffield College was founded in 1937 after a donation to the University by the car manufacturer Lord Nuffield; he gave land for the college, as well as £900,000 (approximately £246 million in present-day terms) to build and endow it. The architect Austen Harrison, who had worked in Greece and Palestine, was appointed by the University to design the buildings. His initial design, heavily influenced by Mediterranean architecture, was rejected by Nuffield, who called it "un-English" and refused to allow his name to be associated with it. Harrison reworked the plans, aiming for "something on the lines of Cotswold domestic architecture", as Nuffield wanted.
Construction of the second design began in 1949 and was finished in 1960. Progress was hampered by post-war building restrictions, and the effects of inflation on Nuffield's donation led to various cost-saving changes to the plans. In one change, the tower, which had been planned to be ornamental, was redesigned to hold the college's library. It was the first tower built in Oxford for 200 years and is about 150 feet (46 m) tall, including the flèche on top. The buildings are arranged around two quadrangles, with residential accommodation for students and fellows in one, and the hall, library and administrative offices in the other. The chapel has stained glass windows designed by John Piper.
The architectural historian Sir Howard Colvin said that Harrison's first design was Oxford's "most notable architectural casualty of the 1930s"; it has also been described as a "missed opportunity" to show that Oxford did not live "only in the past". Reaction to the architecture of the college has been largely unfavourable. In the 1960s, it was described as "Oxford's biggest monument to barren reaction". The tower has been described as "ungainly", and marred by repetitive windows. The travel writer Jan Morris wrote that the college was "a hodge-podge from the start". However, the architectural historian Sir Nikolaus Pevsner, although unimpressed with most of the college, thought that the tower helped the Oxford skyline and predicted it would "one day be loved". The writer Simon Jenkins doubted Pevsner's prediction, and claimed that "vegetation" was the "best hope" for the tower – as well as the rest of the college. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
2181
],
"text": [
"Pevsner"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the historian that predicted the tower on the college that's second design was finished in 1960 would "one day be loved"?, using the article: The buildings of Nuffield College, one of the colleges of the University of Oxford, are to the west of the city centre of Oxford, England, and stand on the site of the basin of the Oxford Canal. Nuffield College was founded in 1937 after a donation to the University by the car manufacturer Lord Nuffield; he gave land for the college, as well as £900,000 (approximately £246 million in present-day terms) to build and endow it. The architect Austen Harrison, who had worked in Greece and Palestine, was appointed by the University to design the buildings. His initial design, heavily influenced by Mediterranean architecture, was rejected by Nuffield, who called it "un-English" and refused to allow his name to be associated with it. Harrison reworked the plans, aiming for "something on the lines of Cotswold domestic architecture", as Nuffield wanted.
Construction of the second design began in 1949 and was finished in 1960. Progress was hampered by post-war building restrictions, and the effects of inflation on Nuffield's donation led to various cost-saving changes to the plans. In one change, the tower, which had been planned to be ornamental, was redesigned to hold the college's library. It was the first tower built in Oxford for 200 years and is about 150 feet (46 m) tall, including the flèche on top. The buildings are arranged around two quadrangles, with residential accommodation for students and fellows in one, and the hall, library and administrative offices in the other. The chapel has stained glass windows designed by John Piper.
The architectural historian Sir Howard Colvin said that Harrison's first design was Oxford's "most notable architectural casualty of the 1930s"; it has also been described as a "missed opportunity" to show that Oxford did not live "only in the past". Reaction to the architecture of the college has been largely unfavourable. In the 1960s, it was described as "Oxford's biggest monument to barren reaction". The tower has been described as "ungainly", and marred by repetitive windows. The travel writer Jan Morris wrote that the college was "a hodge-podge from the start". However, the architectural historian Sir Nikolaus Pevsner, although unimpressed with most of the college, thought that the tower helped the Oxford skyline and predicted it would "one day be loved". The writer Simon Jenkins doubted Pevsner's prediction, and claimed that "vegetation" was the "best hope" for the tower – as well as the rest of the college., what would be the answer ? | Pevsner |
ed7a48ca2810f9c458497dcd06a0762bc60fcd35 | What is the last name of the writer that thought "vegetation" would be best for the college that built a 150 foot tower? | The buildings of Nuffield College, one of the colleges of the University of Oxford, are to the west of the city centre of Oxford, England, and stand on the site of the basin of the Oxford Canal. Nuffield College was founded in 1937 after a donation to the University by the car manufacturer Lord Nuffield; he gave land for the college, as well as £900,000 (approximately £246 million in present-day terms) to build and endow it. The architect Austen Harrison, who had worked in Greece and Palestine, was appointed by the University to design the buildings. His initial design, heavily influenced by Mediterranean architecture, was rejected by Nuffield, who called it "un-English" and refused to allow his name to be associated with it. Harrison reworked the plans, aiming for "something on the lines of Cotswold domestic architecture", as Nuffield wanted.
Construction of the second design began in 1949 and was finished in 1960. Progress was hampered by post-war building restrictions, and the effects of inflation on Nuffield's donation led to various cost-saving changes to the plans. In one change, the tower, which had been planned to be ornamental, was redesigned to hold the college's library. It was the first tower built in Oxford for 200 years and is about 150 feet (46 m) tall, including the flèche on top. The buildings are arranged around two quadrangles, with residential accommodation for students and fellows in one, and the hall, library and administrative offices in the other. The chapel has stained glass windows designed by John Piper.
The architectural historian Sir Howard Colvin said that Harrison's first design was Oxford's "most notable architectural casualty of the 1930s"; it has also been described as a "missed opportunity" to show that Oxford did not live "only in the past". Reaction to the architecture of the college has been largely unfavourable. In the 1960s, it was described as "Oxford's biggest monument to barren reaction". The tower has been described as "ungainly", and marred by repetitive windows. The travel writer Jan Morris wrote that the college was "a hodge-podge from the start". However, the architectural historian Sir Nikolaus Pevsner, although unimpressed with most of the college, thought that the tower helped the Oxford skyline and predicted it would "one day be loved". The writer Simon Jenkins doubted Pevsner's prediction, and claimed that "vegetation" was the "best hope" for the tower – as well as the rest of the college. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
2346
],
"text": [
"Jenkins"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the writer that thought "vegetation" would be best for the college that built a 150 foot tower?, using the article: The buildings of Nuffield College, one of the colleges of the University of Oxford, are to the west of the city centre of Oxford, England, and stand on the site of the basin of the Oxford Canal. Nuffield College was founded in 1937 after a donation to the University by the car manufacturer Lord Nuffield; he gave land for the college, as well as £900,000 (approximately £246 million in present-day terms) to build and endow it. The architect Austen Harrison, who had worked in Greece and Palestine, was appointed by the University to design the buildings. His initial design, heavily influenced by Mediterranean architecture, was rejected by Nuffield, who called it "un-English" and refused to allow his name to be associated with it. Harrison reworked the plans, aiming for "something on the lines of Cotswold domestic architecture", as Nuffield wanted.
Construction of the second design began in 1949 and was finished in 1960. Progress was hampered by post-war building restrictions, and the effects of inflation on Nuffield's donation led to various cost-saving changes to the plans. In one change, the tower, which had been planned to be ornamental, was redesigned to hold the college's library. It was the first tower built in Oxford for 200 years and is about 150 feet (46 m) tall, including the flèche on top. The buildings are arranged around two quadrangles, with residential accommodation for students and fellows in one, and the hall, library and administrative offices in the other. The chapel has stained glass windows designed by John Piper.
The architectural historian Sir Howard Colvin said that Harrison's first design was Oxford's "most notable architectural casualty of the 1930s"; it has also been described as a "missed opportunity" to show that Oxford did not live "only in the past". Reaction to the architecture of the college has been largely unfavourable. In the 1960s, it was described as "Oxford's biggest monument to barren reaction". The tower has been described as "ungainly", and marred by repetitive windows. The travel writer Jan Morris wrote that the college was "a hodge-podge from the start". However, the architectural historian Sir Nikolaus Pevsner, although unimpressed with most of the college, thought that the tower helped the Oxford skyline and predicted it would "one day be loved". The writer Simon Jenkins doubted Pevsner's prediction, and claimed that "vegetation" was the "best hope" for the tower – as well as the rest of the college., what would be the answer ? | Jenkins |
99bc6bbdd46d8cf0e55f61dc4f3db73a9cd02032 | What is the full name of the person that was interviewed on 17 June 1938? | Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
549
],
"text": [
"Austen Harrison"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person that was interviewed on 17 June 1938?, using the article: Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period., what would be the answer ? | Austen Harrison |
86b337fd0608ac7017c46a2d2214ba0704c1a46b | What is the full name of the person that had practised in Greece and Palestine? | Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
548
],
"text": [
"Austen Harrison"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person that had practised in Greece and Palestine?, using the article: Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period., what would be the answer ? | Austen Harrison |
f52e7b7d3dca6a2fe43822ea4caaad0056efdd3b | What college is the only project Austen Harrison ever did in Britain? | Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
18
],
"text": [
"Nuffield"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What college is the only project Austen Harrison ever did in Britain?, using the article: Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period., what would be the answer ? | Nuffield |
1a57343fbe30c5faad6efa18692da5167f8f069b | What was the full name of the person that was abroad for much of the intervening period of Nuffield? | Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
549
],
"text": [
"Austen Harrison"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the full name of the person that was abroad for much of the intervening period of Nuffield?, using the article: Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine. Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana. Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs.
After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end of the main site, aligned east to west, with a tower at the west end; the upper quadrangle, to the immediate west of the hall and aligned north to south, would have the Warden's Lodging at the north end and the chapel at the south end; steps would lead down from the upper quadrangle into the lower quadrangle, again aligned east to west, with the main entrance at the far east end of the lower quadrangle. The proposed institute would face the main college entrance across Worcester Street. The sub-committee recommended that Harrison's plans be adopted in January 1939, and a model of the design was shown to Nuffield in June 1939 – he had been abroad for much of the intervening period., what would be the answer ? | Austen Harrison |
9b0c57985a6b07bc30bcd8abf3c836e19ee724ed | What is the title of the man who presented the royal charter to the college in 1958? | The Second World War meant that construction work on the main college buildings could not begin until 21 April 1949, when the foundation stone was laid; work on the warden's residence had begun in October 1948. Before the buildings were erected, the college operated from rented houses elsewhere in Oxford, on Banbury Road and Woodstock Road. There were further changes to Harrison's second design, as not only had inflation between 1937 and 1949 reduced the value of Nuffield's original donation, but additional savings had to be made in the difficult post-war economic situation. A scale model, created in 1949 as work started, showed the alterations: a shortened tower, a plainer main entrance, and no arcades within the quadrangles. Further changes were made once work was under way, including the indefinite postponement of construction of the institute opposite the college. The plans of the tower were altered so that it would hold a library, instead of being purely ornamental, windows were added at regular intervals, and it was topped by a copper flèche, or small spire.A further delay in construction was announced in 1951, when labour and materials were restricted because of a government rearmament drive. Work to complete the quadrangle, including a hall, kitchen and the library tower, began in 1955 at a cost of £200,000. This money was donated to the college by the Nuffield Foundation upon Lord Nuffield's recommendation. Until it was required for books, the fellows of the college used the upper floor as a Senior Common Room. The tower was completed in 1956, and the college as a whole (without the institute on the site opposite, which is now used as a car park) was finished in 1960. Work was still under way when the college was incorporated by royal charter in 1958, thereby becoming a self-governing entity. The charter was presented to the college by the Duke of Edinburgh on 6 June 1958, at the first lunch to be served in the hall.Colvin commented that, apart from the flèche which was similar to the initial plan, the college as finally built contained none of the elements that had given Harrison's first design "interest and distinction". The remaining "vestiges" of the first plan, he said, were the two main axes within the college, although "no longer focussed on major architectural incidents", and the masonry around the main doors, cut to resemble the buildings of medieval Italy rather than those of Tudor England. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1881
],
"text": [
"Duke of Edinburgh"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the title of the man who presented the royal charter to the college in 1958?, using the article: The Second World War meant that construction work on the main college buildings could not begin until 21 April 1949, when the foundation stone was laid; work on the warden's residence had begun in October 1948. Before the buildings were erected, the college operated from rented houses elsewhere in Oxford, on Banbury Road and Woodstock Road. There were further changes to Harrison's second design, as not only had inflation between 1937 and 1949 reduced the value of Nuffield's original donation, but additional savings had to be made in the difficult post-war economic situation. A scale model, created in 1949 as work started, showed the alterations: a shortened tower, a plainer main entrance, and no arcades within the quadrangles. Further changes were made once work was under way, including the indefinite postponement of construction of the institute opposite the college. The plans of the tower were altered so that it would hold a library, instead of being purely ornamental, windows were added at regular intervals, and it was topped by a copper flèche, or small spire.A further delay in construction was announced in 1951, when labour and materials were restricted because of a government rearmament drive. Work to complete the quadrangle, including a hall, kitchen and the library tower, began in 1955 at a cost of £200,000. This money was donated to the college by the Nuffield Foundation upon Lord Nuffield's recommendation. Until it was required for books, the fellows of the college used the upper floor as a Senior Common Room. The tower was completed in 1956, and the college as a whole (without the institute on the site opposite, which is now used as a car park) was finished in 1960. Work was still under way when the college was incorporated by royal charter in 1958, thereby becoming a self-governing entity. The charter was presented to the college by the Duke of Edinburgh on 6 June 1958, at the first lunch to be served in the hall.Colvin commented that, apart from the flèche which was similar to the initial plan, the college as finally built contained none of the elements that had given Harrison's first design "interest and distinction". The remaining "vestiges" of the first plan, he said, were the two main axes within the college, although "no longer focussed on major architectural incidents", and the masonry around the main doors, cut to resemble the buildings of medieval Italy rather than those of Tudor England., what would be the answer ? | Duke of Edinburgh |
1474ee7ba670fe657d5f4adf5afc8e8c12d17c40 | What is the name of the foundation that donated to complete construction work at the college? | The Second World War meant that construction work on the main college buildings could not begin until 21 April 1949, when the foundation stone was laid; work on the warden's residence had begun in October 1948. Before the buildings were erected, the college operated from rented houses elsewhere in Oxford, on Banbury Road and Woodstock Road. There were further changes to Harrison's second design, as not only had inflation between 1937 and 1949 reduced the value of Nuffield's original donation, but additional savings had to be made in the difficult post-war economic situation. A scale model, created in 1949 as work started, showed the alterations: a shortened tower, a plainer main entrance, and no arcades within the quadrangles. Further changes were made once work was under way, including the indefinite postponement of construction of the institute opposite the college. The plans of the tower were altered so that it would hold a library, instead of being purely ornamental, windows were added at regular intervals, and it was topped by a copper flèche, or small spire.A further delay in construction was announced in 1951, when labour and materials were restricted because of a government rearmament drive. Work to complete the quadrangle, including a hall, kitchen and the library tower, began in 1955 at a cost of £200,000. This money was donated to the college by the Nuffield Foundation upon Lord Nuffield's recommendation. Until it was required for books, the fellows of the college used the upper floor as a Senior Common Room. The tower was completed in 1956, and the college as a whole (without the institute on the site opposite, which is now used as a car park) was finished in 1960. Work was still under way when the college was incorporated by royal charter in 1958, thereby becoming a self-governing entity. The charter was presented to the college by the Duke of Edinburgh on 6 June 1958, at the first lunch to be served in the hall.Colvin commented that, apart from the flèche which was similar to the initial plan, the college as finally built contained none of the elements that had given Harrison's first design "interest and distinction". The remaining "vestiges" of the first plan, he said, were the two main axes within the college, although "no longer focussed on major architectural incidents", and the masonry around the main doors, cut to resemble the buildings of medieval Italy rather than those of Tudor England. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1383
],
"text": [
"Nuffield Foundation"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the foundation that donated to complete construction work at the college?, using the article: The Second World War meant that construction work on the main college buildings could not begin until 21 April 1949, when the foundation stone was laid; work on the warden's residence had begun in October 1948. Before the buildings were erected, the college operated from rented houses elsewhere in Oxford, on Banbury Road and Woodstock Road. There were further changes to Harrison's second design, as not only had inflation between 1937 and 1949 reduced the value of Nuffield's original donation, but additional savings had to be made in the difficult post-war economic situation. A scale model, created in 1949 as work started, showed the alterations: a shortened tower, a plainer main entrance, and no arcades within the quadrangles. Further changes were made once work was under way, including the indefinite postponement of construction of the institute opposite the college. The plans of the tower were altered so that it would hold a library, instead of being purely ornamental, windows were added at regular intervals, and it was topped by a copper flèche, or small spire.A further delay in construction was announced in 1951, when labour and materials were restricted because of a government rearmament drive. Work to complete the quadrangle, including a hall, kitchen and the library tower, began in 1955 at a cost of £200,000. This money was donated to the college by the Nuffield Foundation upon Lord Nuffield's recommendation. Until it was required for books, the fellows of the college used the upper floor as a Senior Common Room. The tower was completed in 1956, and the college as a whole (without the institute on the site opposite, which is now used as a car park) was finished in 1960. Work was still under way when the college was incorporated by royal charter in 1958, thereby becoming a self-governing entity. The charter was presented to the college by the Duke of Edinburgh on 6 June 1958, at the first lunch to be served in the hall.Colvin commented that, apart from the flèche which was similar to the initial plan, the college as finally built contained none of the elements that had given Harrison's first design "interest and distinction". The remaining "vestiges" of the first plan, he said, were the two main axes within the college, although "no longer focussed on major architectural incidents", and the masonry around the main doors, cut to resemble the buildings of medieval Italy rather than those of Tudor England., what would be the answer ? | Nuffield Foundation |
ff28fb84da3d9bb516fa3b2993186b6c6a3faf5b | What is the full name of the person whose portrait was painted by Sir Arthur Cope? | The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1592
],
"text": [
"Lord Nuffield"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person whose portrait was painted by Sir Arthur Cope?, using the article: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch., what would be the answer ? | Lord Nuffield |
54de06bf877884d4c1daf7b8419108cd25503e95 | What is the last name of the person whose portrait hangs in the hall? | The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1597
],
"text": [
"Nuffield"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person whose portrait hangs in the hall?, using the article: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch., what would be the answer ? | Nuffield |
c0da46a52a59df2e7a779aaabdf1ffff878f0cbd | What has five abstract stained glass windows? | The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1757
],
"text": [
"The chapel"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What has five abstract stained glass windows?, using the article: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch., what would be the answer ? | The chapel |
cc771fa022ad62a7df8742f857e6559ad43e35ff | What college presents a symmetrical front to New Road? | The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
2216
],
"text": [
"Nuffield"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What college presents a symmetrical front to New Road?, using the article: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch., what would be the answer ? | Nuffield |
23d6dbf71c1ab3bb6d34006f9296c4069d4e281c | What college's main entrance leads into the upper quadrangle? | The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
2216
],
"text": [
"Nuffield"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What college's main entrance leads into the upper quadrangle?, using the article: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch., what would be the answer ? | Nuffield |
c61c3123470021229926acd1c6d63b43519339f0 | What college has a library with total shelf-length of just under 6 kilometres? | The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
2216
],
"text": [
"Nuffield"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What college has a library with total shelf-length of just under 6 kilometres?, using the article: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch., what would be the answer ? | Nuffield |
29425c6472148db643fd5ce8da30557aff316325 | What college has an abstract sculpture by Hubert Dalwood on the lawn? | The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch. | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
2216
],
"text": [
"Nuffield"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What college has an abstract sculpture by Hubert Dalwood on the lawn?, using the article: The college presents a symmetrical front to New Road and the castle mound, with four small gables between a larger gable at either end. There are two quadrangles, with steps leading down from the upper quadrangle (to the east) to the lower quadrangle (to the west). Residential accommodation for students and fellows is located in the lower quadrangle, whilst the hall, library, and administrative offices are in the upper quadrangle. The buildings are two storeys high, with dormers above. There are pools in the centre of the quadrangles (the one in the lower quadrangle is the longer of the two); the writer Simon Jenkins said that these are "almost puddles", and saw them as relics of Harrison's Mediterranean plan. The writer Peter Sager, however, thought that the pond represents the canal basin that previously occupied the site. The main entrance leads into the upper quadrangle, which has the hall on its east side. The square-mullioned windows facing the quadrangles are arranged in close-set groups of three; at the east end of the upper quadrangle, the common room has a larger bay window. An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose".
The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels. The furniture in the hall was designed by, and the chairs were built by, Edward Barnsley. Lord Nuffield's coat of arms are displayed over the fireplace, carved from a single piece of stone, and his portrait, painted by Sir Arthur Cope, hangs in the hall. The chapel, on the south side of the college, can seat forty people. It has five abstract stained glass windows that were designed by John Piper and executed by Patrick Reyntiens, and a metal reredos with a bronze crucifix. The roofs are finished with Collyweston stone slates from Northamptonshire. Many other Oxford colleges are roofed with Stonesfield stone slate from a quarry 10 miles (16 km) northwest of Oxford, but these were no longer available when Nuffield was built. The main building stone used is Clipsham stone. The tower, which has nine floors, is about 90 feet (27 m) tall, with the flèche taking the total height to about 150 feet (46 m). It was the first tower built in Oxford for 200 years. Work was carried out in the library in 1999 to extend the total shelf-length to just under 6 kilometres (3.7 mi). The library contains paintings of "Spring" and "Winter" by Derrick Greaves and "Summer" and "Autumn" by Edward Middleditch., what would be the answer ? | Nuffield |
27eaec74f923c4c7c5fb732c14abf172ae4478df | What is the last name of the person who described the Nuffield College tower as an ungainly structure? | The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour". | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1470
],
"text": [
"Tyack"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who described the Nuffield College tower as an ungainly structure?, using the article: The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour"., what would be the answer ? | Tyack |
a99a2c9ac9b782664072c5115e298d82367867a4 | Who said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century? | The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour". | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
595
],
"text": [
"An unnamed journalist"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century?, using the article: The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour"., what would be the answer ? | An unnamed journalist |
0df70004e89b8b0d08ea0a13164fbc0a94fe1b65 | What is the full name of the person who said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent? | The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour". | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1091
],
"text": [
"Howard Colvin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent?, using the article: The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour"., what would be the answer ? | Howard Colvin |
714d7340bcf1fa69ab94a9175f81f6efa334593b | What is the name of the person who "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford"? | The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour". | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
"answer_start": [
1758
],
"text": [
"Nikolaus Pevsner"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the person who "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford"?, using the article: The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour"., what would be the answer ? | Nikolaus Pevsner |
a2c01b1a048dca8ddf5b745a3d3310f6debdccdc | What is the name of the person who said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details? | The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour". | Buildings of Nuffield College, Oxford | https://en.wikipedia.org/wiki/Buildings_of_Nuffield_College,_Oxford | {
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| A friend asked me to answer this question: What is the name of the person who said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details?, using the article: The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the flèche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of architecture of 20th-century Oxford" and made Nuffield "look even more absurd". Nevertheless, he "proposed forgiveness" for the "mighty tower", which "positively helps the famous skyline of Oxford", adding that it has "enough identity to be sure that one day it will find affection". He said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details into a non-period whole and will, I prophesy, one day be loved", although he was less sure that this fate awaited the rest of the buildings. Simon Jenkins said of Pevsner's prophecy about the tower, "I doubt it"; he described it as "at best ungainly", with a "weak spire", and said that "vegetation was its best hope, as for the rest of Nuffield". The college, in his view "required a sense of humour"., what would be the answer ? | Nikolaus Pevsner |