{"input": "Who lived longer, Werner Mensching or Karel Zich?", "context": "Passage 1:\nKarel Zich\nKarel Zich (10 June 1949 \u2013 13 July 2004) was a Czech singer, guitarist and composer whose voice was often compared with that of Elvis Presley.\n\nLife\nKarel Zich was born in Prague, Czechoslovakia, into a musical family. His grandfather was Otakar Zich, composer and professor of music aesthetics, and his uncle was the composer Jaroslav Zich. Karel attended the Prague State Conservatory (St\u00e1tn\u00ed konzervato\u0159 Praha) for three years and later graduated from Charles University in sociology.Between 1964 and 1965 he performed with the band Framus as a singer. In 1968 Zich joined Spiritu\u00e1l kvintet and stayed with them until 1973. His main interest was in rock'n'roll, and he is sometimes called the \"Czech Elvis\".After his successes in the Czech pop scene with various bands, Zich decided to start his solo career. In 1974 he left Spiritu\u00e1l kvintet and in 1976 released his first album, D\u016fm \u010d.5 (House No. 5). Although he sang his own songs, he also worked with famous composers Karel Svoboda, Petr Janda, and others.In 1975 Zich reached the top of his career by winning 4th place in Zlat\u00fd Slav\u00edk. In 1979 he founded the band Flop and recorded 50 singles and 15 albums, one with the legendary Wanda Jackson. During his career Zich sold over one million discs and performed at thousands of concerts in most European countries, the United States, Canada, Brazil, Chile and elsewhere. His most famous songs are Par\u00e1da (Awsome) and M\u011bla na o\u010d\u00edch br\u00fdle. Twice took 2nd place in the country's top music festival and song contest, Bratislavsk\u00e1 l\u00fdra, in 1977 and 1983.In his last years he often performed guitar solos and sometimes performed with his band. In 1992 he joined Spiritu\u00e1l kvintet again.\n\nDeath\nKarel Zich died of complications following a heart attack during a diving holiday in Porto-Vecchio, Corsica.\n\nSelected discography\nLet's Have a Party in Prague (with Wanda Jackson) \u2013 1988\nPassage 2:\nKarol Hochberg\nKarol Hochberg (1911\u20131944, also Karl or Karel) was a collaborator during the Holocaust, who led the \"Department for Special Affairs\" within the \u00dastred\u0148a \u017didov, the Judenrat in Bratislava which was created by the Nazis to direct the Jewish community of Slovakia.\n\nLife\nHochberg was born in Hungary in 1911 and studied in Vienna and Prague. He moved to Slovakia in 1939. In 1940, the Slovak Jews were forced to form the \u00dastred\u0148a \u017didov (\u00da\u017d), a Judenrat, to implement Nazi orders. Most of the members of the \u00da\u017d had been prominent in Jewish public life before the Holocaust, and worked on public relief for Jews who had been dispossessed by anti-Jewish measures. However, the \u00da\u017d's reputation was harmed by the Jews within it who informed or collaborated, of whom Hochberg was the most notorious, according to YIVO (Institute for Jewish Research). In early 1941, the first head of the \u00da\u017d was deposed and arrested for sabotaging a census of Jews in eastern Slovakia with an aim to remove them to the west of the country. His replacement was an ineffectual schoolteacher named Arpad Sebestyen, who took a position of complete collaboration with the Germans. Hochberg was appointed to lead the \"Department for Special Affairs\",  which was created to ensure the prompt implementation of Dieter Wisliceny's orders; he promptly organized the census and removal, tarnishing the \u00da\u017d's reputation in the Jewish community. Due to Sebestyen's ineffectuality, Hochberg's department came to dominate the operations of the \u00da\u017d.In 1942, Hochberg's department worked on categorizing Jews for deportation, but it did not actually draw up the lists. About 57,000 Jews, two-thirds of the population, were deported that year; only a few hundred survived. Later, Hochberg played an important role in negotiations between the Bratislava Working Group, the resistance group within the \u00da\u017d, and Wisliceny. Hochberg, who made regular visits to Wisliceny's office, was the only feasible option because contact with Wisliceny had to be done clandestinely. The Working Group employed him as an intermediary despite its intense dislike and distrust of Hochberg, its fear that associating with him would harm their reputations, and its belief that he was unreliable.In November 1942, as the Working Group began to negotiate the Europa Plan with Wisliceny in an effort to save all European Jews from deportation and death, Hochberg was arrested for bribery and corruption. According to the Slovak police records, Hochberg had an illegal account in which large bribes were deposited in return for the cessation of transports. Andrej Steiner, a member of the Working Group, distrusted Hochberg and had provided the Slovak police with evidence against him. However, his colleague Michael Dov Weissmandl advocated that the Working Group try to get Hochberg released; Weissmandl believed that he was useful and was concerned that he would reveal the negotiations. The leader of the Working Group, Gisi Fleischmann, sided with Steiner, and the Working Group did not intervene on Hochberg's behalf. Imprisoned at Nov\u00e1ky labor camp and later Ilava prison, Hochberg escaped during the Slovak National Uprising and joined the partisans. He was executed as a collaborator by Jewish partisans.\nPassage 3:\nMaximus of Tyre\nMaximus of Tyre (Greek: \u039c\u03ac\u03be\u03b9\u03bc\u03bf\u03c2 \u03a4\u03cd\u03c1\u03b9\u03bf\u03c2; fl. late 2nd century AD), also known as Cassius Maximus Tyrius, was a Greek rhetorician and philosopher who lived in the time of the Antonines and Commodus, and who belongs to the trend of the Second Sophistic.  His writings contain many allusions to the history of Greece, while there is little reference to Rome; hence it is inferred that he lived longer in Greece, perhaps as a professor at Athens. Although nominally a Platonist, he is really a sophist rather than a philosopher, although he is still considered one of the precursors of Neoplatonism.\n\nWritings\nThe Dissertations\nThere exist 41 essays or discourses on theological, ethical, and other philosophical subjects, collected into a work called The Dissertations. The central theme is God as the supreme being, one and indivisible though called by many names, accessible to reason alone:\nIn such a mighty contest, sedition and discord, you will see one according law and assertion in all the earth, that there is one God, the king and father of all things, and many gods, sons of God, ruling together with him.\nAs animals form the intermediate stage between plants and human beings, so there exist intermediaries between God and man, viz. daemons, who dwell on the confines of heaven and earth. The soul in many ways bears a great resemblance to the divinity; it is partly mortal, partly immortal, and, when freed from the fetters of the body, becomes a daemon. Life is the sleep of the soul, from which it awakes at death. The style of Maximus is superior to that of the ordinary sophistical rhetorician, but scholars differ widely as to the merits of the essays themselves.Dissertation XX discusses \"Whether the Life of a Cynic is to Be Preferred\". He begins with a narrative of how Prometheus created mankind, who initially lived a life of ease \"for the earth supplied them with aliment, rich meadows, long-haired mountains, and abundance of fruits\" \u2013 in other words, a Garden of Eden that resonates with Cynic ideas. It was \"a life without war, without iron, without a guard, peaceful, healthful unindigent\".\nThen, taking perhaps from Lucretius, he contrasts that Garden to mankind's \"second life\", which started with the division of the earth into property, which they then enclosed into fortifications and walls, and started to wear jewellery and gold, built houses, \u201cmolested the earth by digging into it for metals\u201d, and invaded the sea and the air (killing animals, fish and birds), in what he described as a \u201cslaughter and all-various gore, pursuing gratification of the body\u201d. Humans became unhappy and, to compensate, sought wealth, \u201cfearing poverty...dreading death...neglecting the care of life...They blamed base actions but did not abstain from them and \u201cthe hated to live, but dreaded to die\u201d.He then contrasts the two lives \u2013 that of the original Garden and of the \u201csecond life\u201d he has just described and asks, which man would not choose the first, who \u201cknows that by the change he shall be liberated from a multitude of evils\u201d and what he calls \u201ca dreadful prison of unhappy men, confined to a dreadful prison of unhappy men, confined in a dark recess, with large iron fetters round their feet, a great weight about their neck\u2026passing their time in filth, in torment, and in weeping\u201d. He asks, \u201cWhich of these images shall we proclaim blessed\u201d? He goes on to praise Diogenes of Sinopeus, the Cynic, for choosing his ascetic life, but only because he avoided the often fearful fates of other philosophers \u2013 such as Socrates being condemned. But there is no mention of he himself taking up the ascetic life himself; rather he only talks about how the Garden would be preferable to the life mankind has made for itself. So it is unlikely he was a Cynic, but was just envious of that idealised pre-civilisation Life in the Garden.Maximus of Tyre must be distinguished from the Stoic Claudius Maximus, tutor of Marcus Aurelius.\n\nAncient Greek Text\nMaximus Tyrius, Philosophumena, Dialexeis - Edited by George Leonidas Koniaris, Publisher Walter de Gruyter, 1995, DOI: https://doi.org/10.1515/9783110882568 - this critical edition presents the Ancient Greek text of Maximus of Tyre.\n\nTranslations\nTaylor, Thomas, The Dissertations of Maximus Tyrius. C. Wittingham (1804)\nTrapp, Michael. Maximus of Tyre: The Philosophical Orations, (NY: Oxford University Press, 1997)\nPassage 4:\nCharles Emmanuel Biset\nCharles Emmanuel Biset or Karel Emmanuel Biset (1633 in Mechelen \u2013 between 28 September 1693 and 1713) was a Flemish painter who had a peripatetic career working in various cities and countries including his hometown Mechelen, Paris, Annonay, Brussels, Antwerp and Breda.  He worked in many genres including genre scenes of interiors with merry companies and gallery paintings, history painting, still life and portraiture.\n\nLife\nCharles Emmanuel Biset was born on 26 December 1633 in Mechelen as Karel Emmanuel Biset.  He was the son of the decorative painter Joris Biset who had trained under Michiel Coxie III, a grandson of the great Renaissance painter Michiel Coxie.  Charles Emmanuel Biset likely trained under his father.\n\nHe worked in Mechelen from about 1640 until the early or mid-1650s. He was subsequently active in Paris where he is presumed to have worked for the court. Thereafter he is recorded for a while in Brussels before moving to Antwerp. Here he was active from 1661 to 1687.He became a master in Antwerp's Guild of Saint Luke in 1662 and was its dean in 1674.  He was also appointed a director of the Academy of Antwerp.He married in 1662 with the painter Maria van Uden who was the daughter of the landscape painter Lucas van Uden.  After her death in 1665, he began a relationship with her sister Anna.  In 1670 he married Anna Cleymans.  Their children were the painters Jan Andreas (also called Jan Baptist) and Jan Karel Biset. He enjoyed the patronage of Juan Domingo de Zu\u00f1iga y Fonseca, Count of Monterrey, and later the Governor of the Habsburg Netherlands for whom he may have worked on a quasi-exclusive basis for a while.In 1687 he is recorded in Breda.  It is possible he stayed there for the rest of his life while visiting Antwerp occasionally.  The last record of his life dates to 28 September 1693 when he was in Antwerp.\nThe place and date of his death are not clear but he is believed to have died between 28 September 1693 and 1713.He was the master of his nephew Jan Anthonie Coxie, who was the son of his sister Joanna and fellow Mechelen painter Jan Coxie.Biset was highly regarded as an artist in his time as is attested by the fact that both the early Flemish biographer Cornelis de Bie and the Dutch biographer Jacob Campo Weyerman included him in their artist biographies.\n\nWork\nGeneral\nBiset was a very versatile artist and the range of his work is very diverse: he painted genre scenes with merry companies, gallery paintings, portraits, history paintings and still lifes. Because of this diversity and the specific genres and themes he worked in, it is believed he may have received some training from Gonzales Coques who also painted in such diverse areas.Biset is regarded by some art historians as a follower of Coques. In fact, some works now ascribed to Biset were formerly attributed to Coques.  This is for instance the case with the composition A Family Seated at a Table in an Elegant Garden Exterior (Sotheby's, 6 December 2006 in New York, lot 7), which was originally regarded as a collaboration between Gonzales Coques and some specialist artists such as Peeter Gijsels and Wilhelm Schubert van Ehrenberg but is regarded by the RKD specialists as entirely by Biset's hand.As was the custom in Antwerp in the 17th century Biset regularly collaborated with other painters who were specialists in a particular genre.  Collaborations with the landscape painters Philips Augustijn Immenraet and Cornelis Huysmans and the architecture painter Wilhelm Schubert van Ehrenberg are recorded.\n\nPortraits\nBiset painted individual as well as family and group portraits, including merry companies.  The Hermitage collection holds a beautiful Portrait of a Musician.  It depicts a musician standing next to a column with some sheet music and a theorbo and viola da gamba resting against the column.  The figure dressed in black is set off against the velvet curtain behind him.  A stool placed next to the musician indicates that he has just finished or is about to commence a musical performance.\n\nThe headmen of the Antwerp schutterij De Oude Voetboog are known to have ordered a group portrait from Biset. It is likely that this work is the large composition referred to as The Legend of William Tell shown to the Antwerp Schutterij of St Sebastian.  This work, which is now in the Royal Museums of Fine Arts of Belgium, was made for the hall of the Antwerp schutterij pursuant to a contract made before a notary on 28 April 1672.  The work is a collaboration with Philips Augustijn Immenraet and Wilhelm Schubert van Ehrenberg. The architecture is painted by Wilhelm Schubert van Ehrenberg and the landscape by Philips Augustijn Immenraet and the rest by Charles Emmanuel Biset.  The composition uses the tale of William Tell to create a group portrait of the leading members of the schutterij.The  Portrait of a family in an interior (Sold at Christie's on 19 April 2007 in New York, lot 31) was originally attributed to Gerard Pietersz van Zijl but is now attributed to Biset. This composition follows the model of the merry companies with its informal setting which includes children and musicians.  A less informal rendering of the same subject is in the Mus\u00e9e des Beaux-Arts de Nantes.\n\nGenre scenes\nGenre subjects involving indoor scenes of playing persons were quite popular in Flemish and Dutch painting in the 17th century and in particular among the so-called Caravaggists.  Biset painted similar genre scenes an example of which is his composition the Tric-trac players (Statens Museum for Kunst).\n\nThe composition shows an interior with two standing men playing tric-trac and three onlookers. One of the onlookers is engaged in a lively exchange with a maid who is handing him a glass of wine.  A young male servant is pouring drinks for the company at a table on which also food is placed including oysters, a few of which have fallen on the floor.  The overall setting seems to point to a company that is actively enjoying itself but may be on the verge of losing control.\n\nGallery paintings\nBiset worked also in the genre of the 'gallery paintings'.  The 'gallery paintings' genre is native to Antwerp where Frans Francken the Younger and Jan Brueghel the Elder were the first artists to create paintings of art and curiosity collections in the 1620s. Gallery paintings depict large rooms in which many paintings and other precious items are displayed in elegant surroundings.  The earliest works in this genre depicted art objects together with other items such as scientific instruments or peculiar natural specimens.  The genre became immediately quite popular and was followed by other artists such as Jan Brueghel the Younger, Cornelis de Baellieur, Hans Jordaens, David Teniers the Younger, Gillis van Tilborch and Hieronymus Janssens.  The art galleries depicted were either real galleries or imaginary galleries, sometimes with allegorical figures.\n\nAn example of Biset's work in this genre is the Interior of an Imaginary Picture Gallery (Alte Pinakothek, Munich) dated to 1666.  This composition falls into the category of allegorical picture galleries, which can be considered a sub-category of the imaginary art gallery type. This composition depicts a large imaginary gallery in which are present a number of persons admiring and scrutinizing artworks and, on the right hand side, figures representing gods and allegorical figures. Wilhelm Schubert van Ehrenberg painted the architecture as well as the ceiling (which is made up of copies of Rubens' works for the Carolus Borromeuskerk in Antwerp) (later destroyed in a fire). The figures are believed to be by Charles Emmanuel Biset. The painting is a collaboration with each of the individual painters whose work is depicted in the painting and have signed their own work: Theodoor Boeyermans (Daughters of Cecrops and Erychtonius), Pieter Boel (Animal Piece), Jan Cossiers (Diana and Actaeon), Cornelis de Heem (Fruit Still Life), Robert van den Hoecke (Winter Landscape), Philips Augustijn Immenraet (Italianate Landscape), Jacob Jordaens (Gyges and Kandaules and Allegory of Painting), Pieter Thijs (Adoration of the Shepherds), Lucas van Uden (Landscape) and the monogrammists missed PB (Fish Still Life) and PVI or PVH (Satyr and Nymph). This type of painting can be regarded as a carefully crafted advertisement of the present talent and past legacy of the Antwerp school of painting.\n\nStill lifes\nA number of still lifes with books are attributed to Biset.  These still lifes stand in a tradition of vanitas still lifes with books that was popular in Flemish and Dutch still life painting in the 17th century.  An example is the Still life with books and a skull (Sold at Alain Truong, 18 December 2008 in Paris).  The composition depicts a table on which rest a number of writing implements, some sealed letters and old books.  On top of one book which is opened and appears to be handwritten rests a human skull.  The message of the work appears to be that human endeavours as expressed in personal writings are futile as death is the ultimate outcome.\n\nBook illustrations\nBiset provided some designs for illustrations for a number of publications in Antwerp.  This includes the book on mushrooms by the priest Franciscus van Sterbeeck entitled Theatrum fungorum oft het toneel der campernoelien ... vergaedert ende beschreven door Franciscus van Sterbeeck, which was published by Joseph Jacobs in Antwerp in 1675 and by the same author and publisher the Citricultura oft Regeringhe der uythemsche boomen te weten oranien, citroenen, limoenen, granaten, laurieren en andere on the cultivation of non-native trees, published in 1682 in Antwerp.\nPassage 5:\nRita Blumenberg\nRita Blumenberg (born 23 June 1936) is a West German retired pair skater.  With her husband Werner Mensching, she won the silver medal at the 1958 German Figure Skating Championships.  The pair finished 7th at the 1960 Winter Olympics and 4th at the European Figure Skating Championships in 1961.\n\nResults\n(with Mensching)\nPassage 6:\nWerner Mensching\nWerner Mensching (23 December 1933 \u2013 21 June 1997) was a West German pair skater.  With his wife Rita Blumenberg, he won the silver medal at the 1958 German Figure Skating Championships.  The pair finished 7th at the 1960 Winter Olympics and 4th at the European Figure Skating Championships in 1961.\n\nResults\n(with Blumenberg)\nPassage 7:\nKarl von Czyhlarz\nKarl Ritter von Czyhlarz, or Karel Cihl\u00e1\u0159 (August 17, 1833, Lovosice, Bohemia - July 21, 1914, Vienna) was a Bohemian-Austrian jurist, politician.\nHe taught as a professor at the Charles University in Prague (1858-1892), University of Vienna (1892-1904).\nHe was a specialist of the Roman law.\nKarl was a member of an assembly of Bohemia (1866-1886), and a member of the Upper Chamber of the Austrian Reichsrat (1898-).\n\nLiterary works\nLehrbuch der Institutionen des r\u00f6mischen Rechts, 1933\n\nExternal links\nDas weltweite \u00d6sterreich Journal - f\u00fcr \u00d6sterreicherinnen und \u00d6sterreicher in aller Welt at oe-journal.at\nRepresentatives of Viennese Scholarship at www.univie.ac.at\nAEIOU\nhttp://epub.oeaw.ac.at/oebl/oebl_C/Czyhlarz_Karl_1833_1914.xml\nPassage 8:\nCarel Beschey\nCarel Beschey or Karel Beschey (1706, Antwerp \u2013 c.\u20091770, likely Antwerp) was a Flemish painter and draughtsman who mainly painted landscapes that were in the style of, or inspired by, the Flemish masters of the previous century and in particular Jan Brueghel the Elder (1568 \u2013 1625).\n\nLife\nCarel Beschey was born in Antwerp the son of Jacob Beschey and Maria-Theresia Huaert.  Carel had three brothers who all became painters.  The best known was Balthasar who was a landscape, history and portrait painter. His younger brothers were Jacob Andries, a history painter, and Jan Frans, a copyist and art dealer.  Jan Frans was for a while resident as a painter and art dealer in London.\n\nCarel Beschey was a pupil of Hendrick Govaerts.  In 1727 he won the first prize in the life drawing competition of the Academy of Arts in Antwerp.  Like his brother Balthasar, he became a director of the Academy of Arts of Antwerp.Thanks to the connections of his younger brother Balthasar who was also an art dealer and portrait painter, Carel Beschey was able to find patrons and buyers for his paintings.  At his brother's house, art lovers regularly met up to study the work of the great Dutch and Flemish masters.It is not known when or where Carel Beschey died but it is assumed he died in Antwerp c. 1770.\n\nWork\nCarel Beschey painted mainly landscapes usually with many figures and occasionally with a religious scene.  He was one of a number of Antwerp artists from the second half of the 17th century and the first half of the 18th century who painted landscapes in a style reminiscent of earlier Flemish landscape painting. In particular, the work of Jan Brueghel the Elder.  These artists included, amongst others, Izaak van Oosten, Peeter Gijsels, Adriaen Frans Boudewyns, Pieter Bout, Joseph van Bredael and his brother Balthasar Beschey.   What these artists had in common was that they liked to paint pleasant landscapes with peasant scenes in fresh colours, which exuded a bucolic sense of happiness. Most of their landscapes were populated with small figures in anecdotal poses set against a backdrop of a nice landscape or of some buildings.  The preferred palette was pronounced blue-green.\n\nThe landscapes of Carel Beschey are closely based on the work of Jan Brueghel the Elder. Carel Beschey had a preference for wide, rural landscapes in which the rich scenery with farmers and travellers clearly evokes the model of landscape painting of the 17th century.Beschey painted a few pairs of winter and summer landscapes.  His winter landscapes display a greater level of independence from the Brueghel model.  An example is A winter landscape with hunters and skaters on a frozen river running through a village (sold at Sotheby's on 9 December 2009 in London, lot 5).\nPassage 9:\nCharles Buls\nCharles Buls or Karel Buls (13 October 1837 \u2013 13 July 1914) was a Belgian politician and mayor of the City of Brussels.\n\nEarly life\nCharles Fran\u00e7ois Gommaire Buls was born in Brussels as the son of a goldsmith from the region of Mechelen. Buls received an artistic education, and spent a year in Paris, and nine months in Italy, studying fine arts. He also learned several languages including English, German, Italian and Latin, besides his mother tongue Dutch. He followed in his father's footsteps and worked as a goldsmith.\nIn 1862 he became a Freemason in \"Les vrais amis\", and in 1871 joined \"La libre pens\u00e9e\".  At the same time, he was a member of \"de Veldbloem\" and \"Vlamingen vooruit\", two Flemish organisations of the Flemish movement. Together with his brother in law, Leo Van der Kindere, the later mayor of Uccle, he became a \"flamingant\".\n\nPolitics\nBuls entered politics in 1870 as a Flemish candidate on a radical list but he was not elected until 1877, when he was elected to the Brussels city council on a liberal list. He became schepen or \u00e9chevin of education in 1879. Buls was a supporter of progressive causes, especially in language issues and education, and the education of women, on which he wrote frequently. He was a supporter of Isabelle Gatti de Gamond's educational reforms. From 1879 on he played an important role in the development of Flemish education in Brussels.On the national stage, Buls served in the Belgian Chamber of Representatives in 1882, and again from 1886 to 1894.\nBuls became Mayor of Brussels in 1881 and remained in office until 1899. At his initiative policemen had to be able to speak both French and Dutch and bilingual signposting was established throughout the city. However, along with these reforms, his most lasting achievement was the result of his opposition to the grandiose architectural schemes of King Leopold II, and the resulting preservation of old parts of Brussels. In particular, Buls was a steadfast defender and admirer of the Mont des Arts and the Grand-Place, now a UNESCO World Heritage Site, successfully proposing the 1883 city ordinance protecting the fa\u00e7ades of the Grand-Place buildings and providing funds for their restoration which took place between 1883 and 1923. In 1899, the architects of Brussels who had been involved in this restoration work paid for a memorial commemorating Buls, designed by Victor Horta and executed by Victor Rousseau, to be placed in the rebuilt \"L'Etoile\" or \"De Ster\" house on the Grand-Place. At the reopening of the restored Town Hall, Buls greeted Leopold II in Dutch, and the King replied in the same language, which was unusual at the time. In 1999, a new fountain with a larger-than-life-sized seated statue of Buls and his dog was erected at the Place Agoraplein, close to the Grand-Place.\nBuls was an accomplished and prolific author, not merely on educational and artistic issues but also publishing accounts of his travels abroad.\n\nSee also\nList of mayors of the City of Brussels\nPassage 10:\nCarolus Gallus\nGallus, Carolus (or Karel de Haan) (16 August 1530 in Arnhem \u2013 28 January 1616 in Nijbroek) was a Reformed minister and polemicist against the Anabaptists. Native to the Netherlands, Gallus was raised in a Roman Catholic family, and studied law and theology to become a priest.\n\nLife\nAs a Roman Catholic preparing to study for the priesthood, and against the warnings of his friend Joannes Visser, Carolus Gallus chose to study theology under John Calvin and Theodore de Beze at the Genevan Academy.\nIn early 1560, he became a priest at Deventer, though by February 1561, he was sued by dean of Deventer and brought under charges of heresy due to his administration of the Eucharist during a Christmas Mass. The city kept him in his position until June 1561, when he fled to the city of Hamm. He was appointed as Evangelical pastor by the Duke of Cleves and remained in this position until 1576. He moved to Bremen for a brief time and became a bitter opponent to the Anabaptists. He published his first book against the Anabaptists entitled Lehre de Christelicken geloovens in veer boecken tegen den wedert\u00f6pern erd\u00f6mmen (Bremen, 1577 ?).  From 1578 to 1581, at the behest of Count Johan Nassau, he was a military chaplain with his friend Johannes Fontanus in Gelderland, where the Reformation was beginning to take hold.\nBetween the years of 1583 and 1586, he ministered once again in Deventer, but once again had to flee as Roman Catholics from Spain who infiltrated the city. He was appointed as professor of theology at the University of Leiden in 1587 and maintained this position rather shortly, as he took a call to become minister in Oldenbroek in 1592, where he remained until his death.\n\nChief works\nLehre de Christelicken geloovens in veer boecken tegen den wedert\u00f6pern erd\u00f6mmen. Bremen, 1577(?).\nExegetica adversus catabaptistas: effte gruendtlike und uthuqeorlike vorklaringe. 1577.\nClavis prophetica nova apocatypseos, Joannis apostoli et evangeliographi. 1592.\nAccesserunt theses de antichristo, & tractatus de magistratu. Apoc. 22 vers 10. Lugd. Bat. 1592.\nDe febribus pestilentibus, ac malignis, tractatus bipartitus. In quo elegantissima & copiosa alexipharmaca usuque comprobata per eumdem acurate examinantur. Nec non quaestio an venae sectio cucurbitule hyrudines vel scarificationes conveniant in dictis febribus authoritatib. eximiorum virorum absolvitur. Ferrariae, Apud Victorium Baldinum, 1600.\nMalleus Anabaptistarum Een hamer op dat hoeft aller Wederdoperschen secten. Arnhem: Jan Janssen, 1606.\nBrevis responsio ad solutiones ad solutiones datas ad Adversariis ad argumenta Maccovii. Franeker, 1642.", "answers": ["Werner Mensching"], "length": 4774, "dataset": "2wikimqa_e", "language": "en", "all_classes": null, "_id": "6c9e7d34cc840d3ef62aba7cf1fddf9501e0e238a3e56c80"}/n
“input”: This is the question to be answered.
“context”: This is the information needed to answer the question.
“answer”: This is the correct answer(ground truth) to the question.

Task Instructions:
(1) Generate a full and concise reasoning path from the "input" question to the ground truth "answer", using sentences from the "context" to support each step.
(2) For each step in the reasoning path, include one unaltered sentence from the “context” to demonstrate how the information leads to the answer.
(3) Structure the response as a JSON object. Each reasoning step should correspond to one original sentence from the “context”.

Use JSON format with 'step' and 'sentence' for your output.
{
  "reasoning": [
    {
      "step": 1,
      "sentence": "<insert first sentence used from context>"
    },
    {
      "step": 2,
      "sentence": "<insert second sentence used from context>"
    },
    ...
  ]
}
Ensure each “sentence” is copied exactly as in the context without any modifications.