gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jean-Philippe Rameau

Context: Along with Francois Couperin, Rameau is one of the two masters of the French school of harpsichord music in the 18th century. Both composers made a decisive break with the style of the first generation of harpsichordists, who confined their compositions to the relatively fixed mould of the classical suite. This reached its apogee in the first decade of the 18th century with successive collections of pieces by Louis Marchand, Gaspard Le Roux, Louis-Nicolas Clerambault, Jean-Francois Dandrieu, Elisabeth Jacquet de la Guerre, Charles Dieupart, and Nicolas Siret.  Rameau and Couperin have different styles. They seem not to have known one another (Couperin was one of the official court musicians while Rameau was still an unknown; fame would only come to him after Couperin's death). Rameau published his first book of harpsichord pieces in 1706 while Couperin (who was fifteen years his senior) waited until 1713 before publishing his first "ordres." Rameau's music includes pieces in the pure tradition of the French suite: imitative ("Le rappel des oiseaux," "La poule") and character ("Les tendres plaintes", "L'entretien des Muses") pieces and works of pure virtuosity that resemble Scarlatti ("Les tourbillons," "Les trois mains") as well as pieces that reveal the experiments of a theorist and musical innovator ("L'Enharmonique", "Les Cyclopes"), which had a marked influence on Daquin, Royer, and Jacques Duphly. The suites are grouped in the traditional way, by key.  Rameau's three collections appeared in 1706, 1724 and 1726 or 1727, respectively. After this, he only composed a single piece for the harpsichord: "La Dauphine" (1747). Other works, such as "Les petits marteaux," have been doubtfully attributed to him.  During his semiretirement in the years 1740 to 1744, he wrote the Pieces de clavecin en concert (1741), which some musicologists consider the pinnacle of French Baroque chamber music. Adopting a formula successfully employed by Mondonville a few years earlier, these pieces differ from trio sonatas in that the harpsichord is not simply there as basso continuo to accompany other instruments (the violin, flute or viol) playing the melody but has an equal part in the "concert" with them. Rameau also claimed that the pieces would be equally satisfying as solo harpsichord works--although this statement is far from convincing, since the composer took the trouble to transcribe five of them himself--those where the lack of other instruments would show the least. CANNOTANSWER

Question: In addition to Rameau being a master at the French School, what else happened after the release of Rameau's book?
Answer: After this, he only composed a single piece for the harpsichord: "La Dauphine" (
Kit Carson

Context: In 1845, Carson guided Fremont on their third and last expedition. They went to California and Oregon. Fremont made scientific plans, but the expedition appeared to be political in nature. Fremont may have been working under secret government orders. President Polk wanted the province of Alta California for the United States. Once in California, Fremont started to rouse the American settlers into a patriotic fever. The Mexican government ordered him to leave. Fremont went north to Oregon, though not before instigating the Sacramento River massacre, in which at least 150 Indians were killed in an unprovoked attack. The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake. Messages from Washington, DC made it clear that President Polk wanted California.  At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846. Two or three men in camp were killed. The attackers fled after a brief struggle. Carson was angry that his friends had been killed. He took an axe and avenged the death of his friends by chopping away at a dead Indian's face. Fremont wrote, "He knocked his head to pieces."  In retaliation for the attack, a few days later Fremont's party massacred a village of Klamath people along the Williamson River in the Klamath Lake massacre. The entire village was razed and at least 14 men, women and children were killed. There was no evidence that the village in question had anything to do with the previous attack. CANNOTANSWER

Question: What was the Third Expedition from Kit Carson?
Answer: In 1845, Carson guided Fremont on their third and last expedition.
Kit Carson

Context: In 1845, Carson guided Fremont on their third and last expedition. They went to California and Oregon. Fremont made scientific plans, but the expedition appeared to be political in nature. Fremont may have been working under secret government orders. President Polk wanted the province of Alta California for the United States. Once in California, Fremont started to rouse the American settlers into a patriotic fever. The Mexican government ordered him to leave. Fremont went north to Oregon, though not before instigating the Sacramento River massacre, in which at least 150 Indians were killed in an unprovoked attack. The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake. Messages from Washington, DC made it clear that President Polk wanted California.  At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846. Two or three men in camp were killed. The attackers fled after a brief struggle. Carson was angry that his friends had been killed. He took an axe and avenged the death of his friends by chopping away at a dead Indian's face. Fremont wrote, "He knocked his head to pieces."  In retaliation for the attack, a few days later Fremont's party massacred a village of Klamath people along the Williamson River in the Klamath Lake massacre. The entire village was razed and at least 14 men, women and children were killed. There was no evidence that the village in question had anything to do with the previous attack. CANNOTANSWER

Question: What did Kit Carson and Fremont do on the last expedition?
Answer: They went to California and Oregon.
Kit Carson

Context: In 1845, Carson guided Fremont on their third and last expedition. They went to California and Oregon. Fremont made scientific plans, but the expedition appeared to be political in nature. Fremont may have been working under secret government orders. President Polk wanted the province of Alta California for the United States. Once in California, Fremont started to rouse the American settlers into a patriotic fever. The Mexican government ordered him to leave. Fremont went north to Oregon, though not before instigating the Sacramento River massacre, in which at least 150 Indians were killed in an unprovoked attack. The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake. Messages from Washington, DC made it clear that President Polk wanted California.  At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846. Two or three men in camp were killed. The attackers fled after a brief struggle. Carson was angry that his friends had been killed. He took an axe and avenged the death of his friends by chopping away at a dead Indian's face. Fremont wrote, "He knocked his head to pieces."  In retaliation for the attack, a few days later Fremont's party massacred a village of Klamath people along the Williamson River in the Klamath Lake massacre. The entire village was razed and at least 14 men, women and children were killed. There was no evidence that the village in question had anything to do with the previous attack. CANNOTANSWER

Question: What did Kit Carson and Fremont do in California and Oregon?
Answer: Once in California, Fremont started to rouse the American settlers into a patriotic fever.
Kit Carson

Context: In 1845, Carson guided Fremont on their third and last expedition. They went to California and Oregon. Fremont made scientific plans, but the expedition appeared to be political in nature. Fremont may have been working under secret government orders. President Polk wanted the province of Alta California for the United States. Once in California, Fremont started to rouse the American settlers into a patriotic fever. The Mexican government ordered him to leave. Fremont went north to Oregon, though not before instigating the Sacramento River massacre, in which at least 150 Indians were killed in an unprovoked attack. The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake. Messages from Washington, DC made it clear that President Polk wanted California.  At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846. Two or three men in camp were killed. The attackers fled after a brief struggle. Carson was angry that his friends had been killed. He took an axe and avenged the death of his friends by chopping away at a dead Indian's face. Fremont wrote, "He knocked his head to pieces."  In retaliation for the attack, a few days later Fremont's party massacred a village of Klamath people along the Williamson River in the Klamath Lake massacre. The entire village was razed and at least 14 men, women and children were killed. There was no evidence that the village in question had anything to do with the previous attack. CANNOTANSWER

Question: How did Fremont rouse the American settlers into a patriotic fever?
Answer: CANNOTANSWER
Kit Carson

Context: In 1845, Carson guided Fremont on their third and last expedition. They went to California and Oregon. Fremont made scientific plans, but the expedition appeared to be political in nature. Fremont may have been working under secret government orders. President Polk wanted the province of Alta California for the United States. Once in California, Fremont started to rouse the American settlers into a patriotic fever. The Mexican government ordered him to leave. Fremont went north to Oregon, though not before instigating the Sacramento River massacre, in which at least 150 Indians were killed in an unprovoked attack. The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake. Messages from Washington, DC made it clear that President Polk wanted California.  At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846. Two or three men in camp were killed. The attackers fled after a brief struggle. Carson was angry that his friends had been killed. He took an axe and avenged the death of his friends by chopping away at a dead Indian's face. Fremont wrote, "He knocked his head to pieces."  In retaliation for the attack, a few days later Fremont's party massacred a village of Klamath people along the Williamson River in the Klamath Lake massacre. The entire village was razed and at least 14 men, women and children were killed. There was no evidence that the village in question had anything to do with the previous attack. CANNOTANSWER

Question: What else did Fremont  do in  California, besides starting the rouse with American settlers?
Answer: The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake.
Kit Carson

Context: In 1845, Carson guided Fremont on their third and last expedition. They went to California and Oregon. Fremont made scientific plans, but the expedition appeared to be political in nature. Fremont may have been working under secret government orders. President Polk wanted the province of Alta California for the United States. Once in California, Fremont started to rouse the American settlers into a patriotic fever. The Mexican government ordered him to leave. Fremont went north to Oregon, though not before instigating the Sacramento River massacre, in which at least 150 Indians were killed in an unprovoked attack. The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake. Messages from Washington, DC made it clear that President Polk wanted California.  At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846. Two or three men in camp were killed. The attackers fled after a brief struggle. Carson was angry that his friends had been killed. He took an axe and avenged the death of his friends by chopping away at a dead Indian's face. Fremont wrote, "He knocked his head to pieces."  In retaliation for the attack, a few days later Fremont's party massacred a village of Klamath people along the Williamson River in the Klamath Lake massacre. The entire village was razed and at least 14 men, women and children were killed. There was no evidence that the village in question had anything to do with the previous attack. CANNOTANSWER

Question: What did Kit Carson and Fremont do when they got to Klamath Lake?
Answer: At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846.
Kit Carson

Context: In 1845, Carson guided Fremont on their third and last expedition. They went to California and Oregon. Fremont made scientific plans, but the expedition appeared to be political in nature. Fremont may have been working under secret government orders. President Polk wanted the province of Alta California for the United States. Once in California, Fremont started to rouse the American settlers into a patriotic fever. The Mexican government ordered him to leave. Fremont went north to Oregon, though not before instigating the Sacramento River massacre, in which at least 150 Indians were killed in an unprovoked attack. The party moved up along the Sacramento River, continuing to kill Indians as they went, then camped near Klamath Lake. Messages from Washington, DC made it clear that President Polk wanted California.  At Klamath Lake in southern Oregon, Fremont's party was hit in a revenge attack by 15-20 Indians on the night of May 9, 1846. Two or three men in camp were killed. The attackers fled after a brief struggle. Carson was angry that his friends had been killed. He took an axe and avenged the death of his friends by chopping away at a dead Indian's face. Fremont wrote, "He knocked his head to pieces."  In retaliation for the attack, a few days later Fremont's party massacred a village of Klamath people along the Williamson River in the Klamath Lake massacre. The entire village was razed and at least 14 men, women and children were killed. There was no evidence that the village in question had anything to do with the previous attack. CANNOTANSWER

Question: Who won the fight between Fremont's party and the Indians?
Answer: Two or three men in camp were killed. The attackers fled after a brief struggle.
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: What was Basel to Hans Holbein the Younger in 1528-1532?
Answer: Holbein bought a house in Basel, in St Johanns-Vorstadt.
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: What did Hans Holbein the Younger use the house for?
Answer: He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence.
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: For Hans Holbein the Younger, what was significant about the house in Basel?
Answer: Enriched by his success in England, Holbein bought a second house in the city in 1531.
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: Besides Hans Holbein the Younger's residential in Basel, what other things happened during the period 1528-1532?
Answer: During this period in Basel, he painted The Artist's Family,
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: What was significant about the painting of Hans Holbein the Younger?
Answer: Art historian John Rowlands sees this work as "one of the most moving portraits in art,
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: Aside from Hans Holbein the Younger's home, what else did Hans say about the painting?
Answer: from an artist, too, who always characterized his sitters with a guarded restraint".
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: Besides the painting in Basel, did Hans Holbein the Younger have any other famous works?
Answer: His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526.
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: Besides the painting of Hans Holbein the Younger in Basel, were there any other famous paintings?
Answer: Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531.
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: What was significant about Hans Holbein the Younger's commission?
Answer: The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532.
Hans Holbein the Younger

Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531.  During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint".  Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians".  Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. CANNOTANSWER

Question: Where was Basel located?
Answer: in St Johanns-Vorstadt.
King Crimson

Context: After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" - a nickname implying that the "King" (King Crimson) was not properly in place during this time. Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to playing synthesizers.  Fripp and Sinfield recorded the second King Crimson album, In the Wake of Poseidon, in 1970 with the Giles brothers hired back as the session rhythm section, and with jazz pianist Keith Tippett and Circus saxophonist Mel Collins as guest musicians. The group considered hiring Elton John to be the singer, but decided against the idea. Lake then agreed to sing on the album in exchange for receiving King Crimson's PA equipment, except on "Cadence and Cascade", which is sung by Fripp's friend Gordon Haskell. Though Tippett was offered band membership, he preferred to remain as a studio collaborator, performing with the band for a single gig. Upon its release in May 1970, In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album. With no musicians to perform material from their new album, Fripp and Sinfield persuaded Haskell to join as singer and bassist and recruited Andy McCulloch as drummer, retaining Collins as saxophonist, flautist and occasional keyboard player.  During the writing sessions for the third album, Lizard, Haskell and McCulloch had no say in the direction of the material, since Fripp and Sinfield wrote the album themselves, bringing in Tippett, Mark Charig on cornet, Nick Evans on trombone, and Robin Miller on oboe and cor anglais as additional musicians. Haskell sang and played bass. Jon Anderson of Yes was also brought in to sing the first part of the album's title track, "Prince Rupert Awakes", which Fripp and Sinfield considered to be outside Haskell's range and style. Lizard featured stronger avant-garde jazz and chamber-classical influences than previous albums, as well as Sinfield's upfront experiments with processing and distorting sound through the EMS VCS 3 synthesiser. It also featured complex lyrics from Sinfield, including a coded song about the break-up of the Beatles, with almost the entire second side taken up by a predominantly instrumental chamber suite describing a medieval battle and its outcome. Released in December 1970, Lizard reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "acquired taste"., Lizard was certainly not to the taste of the more rhythm-and-blues-oriented Haskell and McCulloch, both of whom found the music difficult to relate to. As a result, Haskell quit the band acrimoniously after refusing to sing live with distortion and electronic effects. McCulloch also departed, leaving Fripp and Sinfield to recruit new members once more. CANNOTANSWER

Question: What is In The Wake of Poseidon?
Answer: Fripp and Sinfield recorded the second King Crimson album, In the Wake of Poseidon, in 1970
King Crimson

Context: After their first US tour, King Crimson was in a state of flux with various line-up changes, thwarted tour plans, and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" - a nickname implying that the "King" (King Crimson) was not properly in place during this time. Fripp became the only remaining musician in the band, with Sinfield expanding his creative role to playing synthesizers.  Fripp and Sinfield recorded the second King Crimson album, In the Wake of Poseidon, in 1970 with the Giles brothers hired back as the session rhythm section, and with jazz pianist Keith Tippett and Circus saxophonist Mel Collins as guest musicians. The group considered hiring Elton John to be the singer, but decided against the idea. Lake then agreed to sing on the album in exchange for receiving King Crimson's PA equipment, except on "Cadence and Cascade", which is sung by Fripp's friend Gordon Haskell. Though Tippett was offered band membership, he preferred to remain as a studio collaborator, performing with the band for a single gig. Upon its release in May 1970, In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album. With no musicians to perform material from their new album, Fripp and Sinfield persuaded Haskell to join as singer and bassist and recruited Andy McCulloch as drummer, retaining Collins as saxophonist, flautist and occasional keyboard player.  During the writing sessions for the third album, Lizard, Haskell and McCulloch had no say in the direction of the material, since Fripp and Sinfield wrote the album themselves, bringing in Tippett, Mark Charig on cornet, Nick Evans on trombone, and Robin Miller on oboe and cor anglais as additional musicians. Haskell sang and played bass. Jon Anderson of Yes was also brought in to sing the first part of the album's title track, "Prince Rupert Awakes", which Fripp and Sinfield considered to be outside Haskell's range and style. Lizard featured stronger avant-garde jazz and chamber-classical influences than previous albums, as well as Sinfield's upfront experiments with processing and distorting sound through the EMS VCS 3 synthesiser. It also featured complex lyrics from Sinfield, including a coded song about the break-up of the Beatles, with almost the entire second side taken up by a predominantly instrumental chamber suite describing a medieval battle and its outcome. Released in December 1970, Lizard reached No. 29 in the UK and No. 113 in the US. Described retrospectively as an "acquired taste"., Lizard was certainly not to the taste of the more rhythm-and-blues-oriented Haskell and McCulloch, both of whom found the music difficult to relate to. As a result, Haskell quit the band acrimoniously after refusing to sing live with distortion and electronic effects. McCulloch also departed, leaving Fripp and Sinfield to recruit new members once more. CANNOTANSWER

Question: Was "In the Wake of Poseidon" a success?
Answer: In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US.