OpenLLM-France/wikimedia huggingface dataset:
# Puerta de Toledo (Zaragoza)

The Puerta de Toledo was one of the twelves city gates that had the Walls of Zaragoza. It was near of San Juan de los Panetes front of the rear of the current Central Market, in the area where were until a few years ago the arches that surrounded the statue of Augustus, in the city of Zaragoza, Aragon (Spain). It took hold on the remains of the Roman walls of Zaragoza.
It was demolished in 1842.

## History

Its origin is from the Roman era. In Arab time it was known as Belkala gate and Bad al-Yanud gate and besides used to close the city on the west side was used as input for royal parades and processions coming from the nearby Palace and then the Castle of la Aljafería. It was the gate that closed and Roman and foundational street of Caesaraugusta called Kardus crossing the city from east to west.
In 1210 and by order of King Peter II of Aragon "The Catholic" moved at his side the grain market, thereby giving rise to germ that later became and still is the Central Market of Zaragoza.
It was flanked by two imposing crenelated towers and its monumental arch closed with iron gates.
Since 1440 its two towers became Royal Prison, which it was previously located in the Puerta Cinegia, and in 1556 in Cárcel de Manifestados it was more directed towards political prisoners prison and oppressed by the regime that ruled until it ruled that they had stopped with or without cause, with justice or without enough justice. This figure then particular of the Aragonese laws was also used to hold civil conflicts. It was like a habeas corpus but old. Hosted to the Chusticia of Aragon Juan de Lanuza y Urrea, who in 1591 ended beheaded in the square itself.
In front of this gate was the Market Square, which had been moved in the 12th century from its old location in Puerta Cineja. During the 16th and 17th centuries, was the most important meeting place of the city, there was much commercial activity and in it were held tournaments and bullfights. It was also the place where the pillory for centuries stood to execute death row inmates, intended to serve as an example for citizens, denominating the place, square of the Justice.
After lengthy discussions, it was decided its demolition in 1842 due to its poor condition.
A tile on the calle Manifestación reminds of its location.
# Fête des belles eaux

Fête des belles eaux, or Festival of the beautiful waters in English, is a 1937 composition by French composer Olivier Messiaen. The work is scored for six ondes Martenots and was commissioned for the 1937 Paris Exposition. The work was written to accompany the movement of the fountains at the Exhibition.

## Structure

This composition is in eight movements and takes approximately 30 minutes to perform. The movement list is as follows:
* Premières fusées (First rockets)
* L'eau (The water)
* Les fusées (The rockets)
* L'eau (The water)
* Les fusées (The rockets)
* L'eau (à son maximum de hauteur) (The water (at its maximum height))
* Superposition de l'eau et des fusées (Superposition of the water and the rockets)
* Feu d'artifice final (Firework finale)
The melodic theme used in the fourth movement was also used later in the fifth movement ("Louange à l'Éternité de Jésus") of Messiaen's Quatuor pour la fin du temps.
# Feuillets inédits

Feuillets inédits ("unpublished pages") are four disregarded works by Olivier Messiaen arranged and revised for piano and ondes Martenot by Yvonne Loriod in dedication to her sister Jeanne (nicknamed Nanou). Conceived in unspecified dates mid-1930s, they were published by Éditions Durand in 2001.

## Movements

Labelled after the original manuscripts, not present in the published score.
* Déchiffrage
* Solfège
* Solfège
* Solfège
The second and third pieces were incomplete and were supplemented by birdsong additions and chords by Loriod. The former is an arrangement of a sight-reading piece by Messiaen.
# Matthijs Musson

Matthijs Musson (28 October 1598, Antwerp, Spanish Netherlands – 3 November 1678, Antwerp, Spanish Netherlands) was a painter and art dealer based in Antwerp, who played an important role in popularizing artists of the 17th-century Antwerp school by marketing them throughout Europe.

## Life

Matthijs Musson was born in Antwerp as the son of Robert Musson, an innkeeper. Matthijs is possibly a pupil in the workshop of Rubens and becomes a master in the Antwerp Guild of Saint Luke in 1622. Matthijs married on 24 February 1632 Maria Borremans who died on 12 May 1646 without issue. In the year 1646-1647 he was deacon of the Antwerp Guild of Saint Luke. Musson remarried on 15 September 1647 Maria Fourmenois who had been widowed two times before. Her last husband was the glass and ebony dealer Cornelis de Wael. After his marriage to Fourmenois, Musson started to deal in art and his wife played an important role in this trading business.
Musson had contacts with dealers throughout Europe. In Flanders, he was active mainly in Antwerp and Brussels. About 60 painters worked for Musson and Fourmenois including Joos de Momper, David Teniers the Younger, Abraham Willemsens, Victor Wolfvoet II and Willem van Herp. After discovering that works of painters from Mechelen, a city situated between Brussels and Antwerp, were of high quality and relatively inexpensive he started sourcing from this city. As a trained painter, he did not limit himself to trading. He gave detailed instructions to his artists and for instance paid Pieter van Lint to make changes to a human figure in one of his paintings.
In 1657 Matthijs Musson bought the art works from the estate of Frans Snyders, which included great works by Rubens and van Dyck as well as examples by Pieter Bruegel the Elder, Joachim Patinir, Jan Brueghel the Younger, Joos van Cleve, and Frans Ykens.
Many of his correspondences have been published and studies of his business relationships with other dealers across Europe have contributed to an understanding of the 17th-century art trade and its economics.

## Work

Only very few artistic works of Matthijs Musson are known. His style was clearly influenced by his master Rubens in his preference for ornamental opulence, sumptuous still lifes and a dramatic sense of narration. The human figures in his compositions are more stylised and svelte in comparison with the Rubenesque models.
A work entitled Jesus at the home of Martha and Mary (Collection of the Banco Bilbao Vizcaya Argentaria) uses a biblical subject as a pretext to create a sumptuous still life. His rendition of the vase of flowers in the centre of the composition is reminiscent of works by the Flemish artist Jan Philip van Thielen, for whom Musson acted as a dealer.
# Mahidpur Assembly constituency

Mahidpur Assembly constituency is one of the 230 assembly constituencies of Madhya Pradesh a central Indian state. Mahidpur is also part of Ujjain Lok Sabha constituency.

## Members of Legislative Assembly

* 1957: Totala Rameshwar Dayal Mahadeo, Indian National Congress
* 1962: Durgadas Bhagwandas, Indian National Congress
* 1967: Ramchandra, Jan Sangh
* 1972: Narayan Prasad Sharma, Indian National Congress
* 1977: Shiv Narayan Choudhry, Janata Party
* 1980: Anandilal Chhajalani, Indian National Congress
* 1985: Nathulal Sisodiya, Bharatiya Janata Party
* 1990: Babulal Jain, Bharatiya Janata Party
* 1993: Babulal Jain, Bharatiya Janata Party
* 1998: Dr. Kalpana Parulekar, Indian National Congress
* 2003: Bhadur Singh Chouhan, Bharatiya Janata Party
* 2008: Dr. Kalpana Parulekar, Indian National Congress
* 2013: Bhadur Singh Chouhan, Bharatiya Janata Party
| Election | Name | Party | Party |
| 2018 | Bhadur Singh Chouhan | | Bharatiya Janata Party |
| 2023 | Dinesh Jain | | Indian National Congress |

## Election results
### 2018

2018 Madhya Pradesh Legislative Assembly election: Mahidpur :
| Party | Party | Candidate | Votes |
| | BJP | Bhadur Singh Chouhan | |
| | NOTA | None of the Above | |
| Majority | Majority | Majority | |
| Turnout | Turnout | Turnout | |
| | BJP gain from | BJP gain from | Swing |
# Royal Irish Institution

The Royal Irish Institution (RII) was a Dublin-based art institution established in 1813 to encourage the displaying of fine arts in Ireland.
One object was to start an academy in Dublin resulting in the establishment of the Royal Hibernian Academy in 1823 and a gallery was opened in 1829 where old masters could be exhibited.

## History

The institution was established following a public meeting in the Rotunda on 24 June 1813 with the object of stimulating native talent by furnishing models to assist the labours of Irish artists and by rewarding the authors of works of superior merit. To this end old masters works were gathered together to be displayed.
An exhibition of esteemed old paintings had never taken place in Ireland and a national gallery did not exist for such events. In the 18th century Irish noblemen and gentleman had brought several collections to Ireland but had been dispersed due to deaths or sold in England, while access to such collections had generally been only by favour. Its first exhibition was held at the Royal Dublin Society's House on Hawkins Street. The first and later exhibitions displayed works by "esteemed masters of the old Italian, Spanish, Dutch, and Flemish schools" including works by artists such as William Hogarth and Joshua Reynolds.
The permanent gallery, in College Street was designed by Frederick Darley and opened in 1829. The gallery space was 40 feet long and 30 feet wide and was 19 feet high up to the cove. It was demolished in 1866 and replaced by the Provincial Bank of Ireland's headquarters. As of June 2023, the building houses the Westin Hotel, Dublin.
The institution held eight exhibitions between 1814 and 1832 but was forced to close due to financial troubles.

### Royal Irish Art Union

A later Royal Irish Art Union was established in 1839 and also held its meetings at the RII's headquarters on College Street. The organisation lasted until 1851 but ultimately also ceased operations.
# Towers of the churches of San Salvador and Santa Cruz (Madrid)

The Towers of the churches of San Salvador and Santa Cruz were the towers of the destroyed churches of San Salvador and Santa Cruz located in Madrid.
It was highlighted the remarkable height of these towers and, above all, that these towers were different from the others in Madrid.
These towers were known among the Madrilenians as Atalaya de la Villa and Atalaya de la Corte. These nicknames arose in the first third of the 17th century.

## Atalaya de la Villa or tower of the church of San Salvador

The Atalaya de la Villa was the tower of the church of San Salvador, one of the ten that are cited in the Fuero of 1202, which was located on the Calle Mayor, facing the Plaza de la Villa.

### Function and description

Not only these play a religious activity but also had entrusted civil functions, the result of linking the temples of San Salvador and Santa Cruz with the City Hall of Madrid.
Among its missions it was alert in case of emergencies such as fires and disasters, and warn of the celebration of different municipal acts. Both towers excelled in its front two separate municipal coats of arms, which reported that direct link with the Council.
In this temple it took place the meetings of the Council of Madrid until the construction of the Casa de la Villa in the 17th century.
The call for municipal meetings was done through the bell tower, which also had the task of marking the curfew (at nine in winter and an hour later in summer), when the situation required it. The other highlight element of the Atalaya de la Villa was its clock, the oldest that was in the city.

## Atalaya de la Corte or tower of the church of Santa Cruz

The Atalaya de la Corte was one of the tallest towers in the Madrid of the Habsburgs with 144 feet (about 40 meters).
The Atalaya de la Corte was located on the site now occupied by the Plaza de Santa Cruz. It belonged to the church of that name, built in the 13th century, and transformed during the 17th century after catching fire in 1620.
The tower, in particular, rose between 1627 and 1680 from a design by the architect Francisco del Castillo, who devised a solution of four bodies, quadrangular and Herrerian spire with roof lantern, as can be seen in the detail of the plan of Teixeira.
Like the Atalaya de la Villa, it have installed a clock and its bell served to summon the council, because in the church of Santa Cruz it occasionally met the Chamber of Mayors to celebrate their festivals.

## Demolitions

The two temples were destroyed in 1868 and with it disappeared the Atalayas.
# Wangcang County

Wangcang County (simplified Chinese: 旺苍县; traditional Chinese: 旺蒼縣; pinyin: Wàngcāng Xiàn) is a county in the northeast of Sichuan Province, China, bordering Shaanxi province to the north. It is under the administration of Guangyuan city.

## Administrative divisions

Wangcang County comprises 21 towns and 2 townships:

### towns

* Donghe 东河镇
* Jiachuan 嘉川镇
* Mumen 木门镇
* Baishui 白水镇
* Zhanghua 张华镇
* Huangyang 黄洋镇
* Puji 普济镇
Sanjiang 三江镇
* Wuquan 五权镇
* Gaoyang 高阳镇
* Shuanghui 双汇镇
* Yingcui 英萃镇
* Guohua 国华镇
* Longfeng 龙凤镇
* Jiulong 九龙镇
* Micangshan 米仓山镇
* Dade 大德镇
* Daliang 大两镇
* Shuimo 水磨镇
* Yanhe 盐河镇
* Tianxing 天星镇

### townships

* Yanzi 燕子乡
* Mengzi 檬子乡

## Climate

Climate data for Wangcang, elevation 499 m (1,637 ft), (1991–2020 normals, extremes 1981–2010) :
| Month | Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec | Year |
| Record high °C (°F) | 19.3 (66.7) | 24.3 (75.7) | 30.7 (87.3) | 34.5 (94.1) | 36.4 (97.5) | 38.0 (100.4) | 40.9 (105.6) | 38.8 (101.8) | 37.9 (100.2) | 31.2 (88.2) | 27.6 (81.7) | 19.4 (66.9) | 40.9 (105.6) |
| Mean daily maximum °C (°F) | 9.8 (49.6) | 12.6 (54.7) | 17.8 (64.0) | 23.6 (74.5) | 27.5 (81.5) | 30.2 (86.4) | 32.0 (89.6) | 32.1 (89.8) | 26.5 (79.7) | 21.3 (70.3) | 16.2 (61.2) | 10.9 (51.6) | 21.7 (71.1) |
| Daily mean °C (°F) | 5.6 (42.1) | 8.1 (46.6) | 12.5 (54.5) | 17.6 (63.7) | 21.6 (70.9) | 24.7 (76.5) | 26.7 (80.1) | 26.4 (79.5) | 21.8 (71.2) | 16.9 (62.4) | 11.7 (53.1) | 6.8 (44.2) | 16.7 (62.1) |
| Mean daily minimum °C (°F) | 2.6 (36.7) | 5.0 (41.0) | 8.6 (47.5) | 13.2 (55.8) | 17.2 (63.0) | 20.6 (69.1) | 22.9 (73.2) | 22.5 (72.5) | 18.8 (65.8) | 14.1 (57.4) | 8.8 (47.8) | 4.0 (39.2) | 13.2 (55.8) |
| Record low °C (°F) | −3.9 (25.0) | −2.9 (26.8) | −1.5 (29.3) | 2.9 (37.2) | 8.3 (46.9) | 13.2 (55.8) | 16.5 (61.7) | 14.9 (58.8) | 12.1 (53.8) | 1.3 (34.3) | −0.9 (30.4) | −4.9 (23.2) | −4.9 (23.2) |
| Average precipitation mm (inches) | 10.6 (0.42) | 16.1 (0.63) | 29.1 (1.15) | 64.6 (2.54) | 115.5 (4.55) | 160.1 (6.30) | 262.9 (10.35) | 169.8 (6.69) | 189.3 (7.45) | 76.2 (3.00) | 35.3 (1.39) | 9.4 (0.37) | 1,138.9 (44.84) |
| Average precipitation days (≥ 0.1 mm) | 6.6 | 7.5 | 9.0 | 11.1 | 13.0 | 13.3 | 15.2 | 13.5 | 14.3 | 13.3 | 8.4 | 6.5 | 131.7 |
| Average snowy days | 1.9 | 0.6 | 0.1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0.1 | 0.4 | 3.1 |
| Average relative humidity (%) | 74 | 71 | 68 | 68 | 67 | 72 | 75 | 74 | 79 | 80 | 78 | 75 | 73 |
| Mean monthly sunshine hours | 57.6 | 55.8 | 89.5 | 125.1 | 141.6 | 131.2 | 147.4 | 162.2 | 91.4 | 79.3 | 68.8 | 60.0 | 1,209.9 |
| Percent possible sunshine | 18 | 18 | 24 | 32 | 33 | 31 | 34 | 40 | 25 | 23 | 22 | 19 | 27 |
| Source: China Meteorological Administration ||||||||||||||
# Palace of the Viceroy (Barcelona)

The Palace of the Viceroy (Catalan: Palau del Virrei, Spanish: Palacio del Virrey) was a palace in Barcelona, Catalonia, Spain. During the time it was a royal residence, it was known as the Royal Palace (Catalan: Palau Reial, Spanish: Palacio Real)), and its popular name was Hala dels Draps (Catalan for ″Hall of the Cloths″). It was located in the Pla de Palau, in the center of the Ciutat Vella district of Barcelona.
The building had its origin in a woolen port warehouse of medieval times, until it was converted into a palace in 1652 and became the official residence of the viceroys of Catalonia. It became the Royal Palace and residence of the Spanish royal family in Barcelona in 1844. It was destroyed by a fire in 1875.

## History
### Middle Ages

The palace has its origins in the ‘Porxo del Forment’, a wheat warehouse constructed in 1314. Next to it, a cloth market was built in 1389, which was also known as the ‘Hala dels Draps’. The buildings were merged in 1514 and a floor was added to the building which served as an arsenal.

### Palace of the Viceroy

King Philip IV confiscated the building in 1652 and purposed it to serve as the new residence of the Viceroy of Catalonia (also known as Lieutenant) moving from the Palau del Lloctinent. By order of Viceroy Vicente Gonzaga Doria a new palace was constructed between 1668 and 1688. The architect was Josep de la Concepció, a Carmelite friar, who designed a baroque building. The palace had a quadrangular plan with a central courtyard, three levels with balconies and a facade with Gothic elements. Of the interior, the main hall, called Sala de Festes, stood out, with a rectangular floor plan and two floors high. In 1700, by initiative of viceroy Prince George of Hesse-Darmstadt a connection was added to the Santa Maria del Mar church. During the War of the Spanish Succession Archduke Charles of Habsburg was installed as king of Spain in the building in 1705. Three years later, he married Elisabeth Christine of Brunswick-Wolfenbüttel in the Santa Maria del Mar in 1708. They resided in the palace until 1711, when they left for Vienna in Austria. With the Nueva Planta decrees the office of the viceroy was abolished, and the palace became the residence of the Captain General of Catalonia. The palace got a façade in a neoclassical style in 1771, designed by the architect Juan Miguel de Roncali.

### Royal Palace

The palace became the royal palace in 1844, when the Captain General moved his residence to a former convent. During this time, the palace was reconstructed in neo-Gothic style. During the various visits to Barcelona the Spanish royal family stayed in the palace. During the First Spanish Republic it was the seat of a court. The palace was destroyed by a fire in 1875 and was not rebuilt. It was not until 1919, that a new royal residence was erected in Barcelona, the Palau Reial de Pedralbes. The current royal residence in Barcelona is the Palace of Albéniz in the Joan Maragall Gardens on the Montjuïc mountain, which was designed for the 1929 International Exposition in the exhibition site itself.
# Trinity Chapel, Conduit Street

Trinity Chapel was a proprietary chapel in Conduit Street, London. It opened in 1691, and was demolished in 1875.

## History

The chapel was originally a moveable timber structure on wheels, placed on Hounslow Heath so that James II could celebrate mass there. After his abdication it was moved to Conduit Street, where it was situated on the south side facing St George Street.
Thomas Tenison, at that time the rector of St Martin-in-the-Fields, later Archbishop of Canterbury, urged that it should be an Anglican chapel of ease for his parish, and it was opened for service in July 1691. Since the site was not freehold, a district could not be assigned to it and it remained a chapel of ease; subsequently St George's, Hanover Square was built nearby. The chapel was later acquired by James Robson, High Bailiff of Westminster, who rebuilt it in brick.
Ministers at the chapel included Thomas Hollingbery (appointed 1777), George Robson (1807), John Thomas Hinds (1831) and Henry Hamilton Beamish (1832). Edward Walford wrote that "the Rev. Dr. Beamish made it by his fervid and eloquent discourses, if not so fashionable, at all events so crowded, that it was impossible to accommodate the congregations which he drew together, without the erection of galleries. The chapel was plain and ugly enough before, but by this addition it was made fairly the most ugly of the then existing proprietary chapels."
The chapel closed in 1875, the ground landlord requiring the site for secular building, and it was demolished.
# First Duo Concert

First Duo Concert is an album by American jazz saxophonist Anthony Braxton and British guitarist Derek Bailey recorded in 1974 at the Wigmore Hall in London and released by Emanem.

## Reception

The Allmusic review by Steve Loewy awarded the album 4½ stars stating "surprisingly accessible, and contrasts two complementary approaches within the free music genre".
Professional ratings :
| Review scores ||
| Source | Rating |
| Allmusic | |
| The Rolling Stone Jazz Record Guide | |
| The Penguin Guide to Jazz Recordings | |

## Track listing

    All compositions by Anthony Braxton and Derek Bailey except as indicated
* "The First Set - Area 1" – 8:22
* "The First Set - Area 2" – 3:12
* "The First Set - Area 3 (Open)" – 8:44
* "The First Set – Area 4 (Solo)" (Bailey) – 2:43
* "The First Set – Area 5" – 5:21
* "The First Set – Area 6" – 6:08
* "The Second Set – Area 7" – 6:48
* "The Second Set – Area 8" – 6:23
* "The Second Set – Area 9 (Solo)" (Braxton) – 5:56
* "The Second Set – Area 10" – 4:29
* "The Second Set – Area 11 (Open)" – 15:29
* "The Second Set – Area 12" – 3:57
** Recorded at the Wigmore Hall in London on June 30, 1974

## Personnel

* Anthony Braxton – soprano saxophone, alto saxophone, soprano clarinet, clarinet, contrabass clarinet, flute
* Derek Bailey – electric guitar, acoustic guitar (tracks 1–8 & 10–12)
# Grand Central Hotel (Omaha, Nebraska)

The Grand Central Hotel was an early hotel establishment formerly located at 14th and Farnam Streets in downtown Omaha, Nebraska. The Grand Central was built as Omaha's premier lodging after the Herndon House became the Union Pacific Headquarters.

## History

After the Herndon House was converted to the Union Pacific Headquarters, Omaha had no large hotel. To alleviate the situation, a syndicate was formed to raise $130,000 to erect the Grand Central Hotel. Construction was begun in 1870, but halted with only the walls and roof complete when funds were exhausted. It sat unfinished for nearly two years. Another syndicate raised the additional funds needed to complete the hotel. When it finally opened in 1873, advertisements claimed the Grand Central to be "the largest and best hotel between Chicago and San Francisco." The building sat on limestone foundation and architectural details included limestone lintels and sills, and a mansard roof. The interior details included fireplaces, imported chandeliers and mirrors.
The hotel almost immediately ran into financial difficulties. In 1878, a $100,000 mortgage was foreclosed. On August 18, 1878, the hotel was bought at auction by Augustus Kountze. George Thrall then leased the hotel from Kountze and assumed its management. In the summer of 1878, the Kitchen Brothers took over the lease and began extensive renovations, including the installation of an elevator. On the evening of September 4, 1878 a fire broke out. Five firefighters died battling the fire that ultimately destroyed the hotel. It was later determined that an unattended candle left by a careless worker had caused the fire.
The Grand Central Hotel catastrophe proved to be the impetus that moved Omaha’s fire department from volunteer to professional status.
In 1882 the original Paxton Hotel was built on the site as a replacement hotel for the city.

## Gallery

* Entry parlor at the Grand Central.
* A view of the original Grand Central.