gaussalgo/Canard_Wiki-augmented huggingface dataset:
Isidore of Seville

Context: Isidore was one of the last of the ancient Christian philosophers; he was the last of the great Latin Church Fathers and was contemporary with Maximus the Confessor. Some consider him to be the most learned man of his age, and he exercised a far-reaching and immeasurable influence on the educational life of the Middle Ages. His contemporary and friend, Braulio of Zaragoza, regarded him as a man raised up by God to save the Iberian peoples from the tidal wave of barbarism that threatened to inundate the ancient civilization of Hispania.  The Eighth Council of Toledo (653) recorded its admiration of his character in these glowing terms: "The extraordinary doctor, the latest ornament of the Catholic Church, the most learned man of the latter ages, always to be named with reverence, Isidore". This tribute was endorsed by the Fifteenth Council of Toledo, held in 688.  Isidore was interred in Seville. His tomb represented an important place of veneration for the Mozarabs during the centuries after the Arab conquest of Visigothic Hispania. In the middle of the 11th century, with the division of Al Andalus into taifas and the strengthening of the Christian holdings in the Iberian peninsula, Ferdinand I of Leon found himself in a position to extract tribute from the fractured Arab states. In addition to money, Abbad II al-Mu'tadid, the Abbasid ruler of Seville (1042-1069), agreed to turn over St. Isidore's remains to Ferdinand I.  A Catholic poet described al-Mutatid placing a brocaded cover over Isidore's sarcophagus, and remarked, "Now you are leaving here, revered Isidore. You know well how much your fame was mine!" Fernando had Isidore's remains reinterred in the then-recently constructed Basilica of San Isidoro in Leon.  Isidore was canonised a saint by the Roman Catholic Church in 1598 by Pope Clement VIII and declared a Doctor of the Church in 1722 by Pope Innocent XIII. Many of his bones are buried in the cathedral of Murcia, Spain. CANNOTANSWER

Question: Was Isidore of Seville Venerated?
Answer: His tomb represented an important place of veneration for the Mozarabs during the centuries after the Arab conquest of Visigothic Hispania.
Isidore of Seville

Context: Isidore was one of the last of the ancient Christian philosophers; he was the last of the great Latin Church Fathers and was contemporary with Maximus the Confessor. Some consider him to be the most learned man of his age, and he exercised a far-reaching and immeasurable influence on the educational life of the Middle Ages. His contemporary and friend, Braulio of Zaragoza, regarded him as a man raised up by God to save the Iberian peoples from the tidal wave of barbarism that threatened to inundate the ancient civilization of Hispania.  The Eighth Council of Toledo (653) recorded its admiration of his character in these glowing terms: "The extraordinary doctor, the latest ornament of the Catholic Church, the most learned man of the latter ages, always to be named with reverence, Isidore". This tribute was endorsed by the Fifteenth Council of Toledo, held in 688.  Isidore was interred in Seville. His tomb represented an important place of veneration for the Mozarabs during the centuries after the Arab conquest of Visigothic Hispania. In the middle of the 11th century, with the division of Al Andalus into taifas and the strengthening of the Christian holdings in the Iberian peninsula, Ferdinand I of Leon found himself in a position to extract tribute from the fractured Arab states. In addition to money, Abbad II al-Mu'tadid, the Abbasid ruler of Seville (1042-1069), agreed to turn over St. Isidore's remains to Ferdinand I.  A Catholic poet described al-Mutatid placing a brocaded cover over Isidore's sarcophagus, and remarked, "Now you are leaving here, revered Isidore. You know well how much your fame was mine!" Fernando had Isidore's remains reinterred in the then-recently constructed Basilica of San Isidoro in Leon.  Isidore was canonised a saint by the Roman Catholic Church in 1598 by Pope Clement VIII and declared a Doctor of the Church in 1722 by Pope Innocent XIII. Many of his bones are buried in the cathedral of Murcia, Spain. CANNOTANSWER

Question: Who were the Mozarabs during the centuries after the Arab conquest of Visigothic Hispania?
Answer: CANNOTANSWER
Isidore of Seville

Context: Isidore was one of the last of the ancient Christian philosophers; he was the last of the great Latin Church Fathers and was contemporary with Maximus the Confessor. Some consider him to be the most learned man of his age, and he exercised a far-reaching and immeasurable influence on the educational life of the Middle Ages. His contemporary and friend, Braulio of Zaragoza, regarded him as a man raised up by God to save the Iberian peoples from the tidal wave of barbarism that threatened to inundate the ancient civilization of Hispania.  The Eighth Council of Toledo (653) recorded its admiration of his character in these glowing terms: "The extraordinary doctor, the latest ornament of the Catholic Church, the most learned man of the latter ages, always to be named with reverence, Isidore". This tribute was endorsed by the Fifteenth Council of Toledo, held in 688.  Isidore was interred in Seville. His tomb represented an important place of veneration for the Mozarabs during the centuries after the Arab conquest of Visigothic Hispania. In the middle of the 11th century, with the division of Al Andalus into taifas and the strengthening of the Christian holdings in the Iberian peninsula, Ferdinand I of Leon found himself in a position to extract tribute from the fractured Arab states. In addition to money, Abbad II al-Mu'tadid, the Abbasid ruler of Seville (1042-1069), agreed to turn over St. Isidore's remains to Ferdinand I.  A Catholic poet described al-Mutatid placing a brocaded cover over Isidore's sarcophagus, and remarked, "Now you are leaving here, revered Isidore. You know well how much your fame was mine!" Fernando had Isidore's remains reinterred in the then-recently constructed Basilica of San Isidoro in Leon.  Isidore was canonised a saint by the Roman Catholic Church in 1598 by Pope Clement VIII and declared a Doctor of the Church in 1722 by Pope Innocent XIII. Many of his bones are buried in the cathedral of Murcia, Spain. CANNOTANSWER

Question: In what forms did Isidore of Seville's Veneration take place?
Answer: found himself in a position to extract tribute from the fractured Arab states.
Isidore of Seville

Context: Isidore was one of the last of the ancient Christian philosophers; he was the last of the great Latin Church Fathers and was contemporary with Maximus the Confessor. Some consider him to be the most learned man of his age, and he exercised a far-reaching and immeasurable influence on the educational life of the Middle Ages. His contemporary and friend, Braulio of Zaragoza, regarded him as a man raised up by God to save the Iberian peoples from the tidal wave of barbarism that threatened to inundate the ancient civilization of Hispania.  The Eighth Council of Toledo (653) recorded its admiration of his character in these glowing terms: "The extraordinary doctor, the latest ornament of the Catholic Church, the most learned man of the latter ages, always to be named with reverence, Isidore". This tribute was endorsed by the Fifteenth Council of Toledo, held in 688.  Isidore was interred in Seville. His tomb represented an important place of veneration for the Mozarabs during the centuries after the Arab conquest of Visigothic Hispania. In the middle of the 11th century, with the division of Al Andalus into taifas and the strengthening of the Christian holdings in the Iberian peninsula, Ferdinand I of Leon found himself in a position to extract tribute from the fractured Arab states. In addition to money, Abbad II al-Mu'tadid, the Abbasid ruler of Seville (1042-1069), agreed to turn over St. Isidore's remains to Ferdinand I.  A Catholic poet described al-Mutatid placing a brocaded cover over Isidore's sarcophagus, and remarked, "Now you are leaving here, revered Isidore. You know well how much your fame was mine!" Fernando had Isidore's remains reinterred in the then-recently constructed Basilica of San Isidoro in Leon.  Isidore was canonised a saint by the Roman Catholic Church in 1598 by Pope Clement VIII and declared a Doctor of the Church in 1722 by Pope Innocent XIII. Many of his bones are buried in the cathedral of Murcia, Spain. CANNOTANSWER

Question: What was the length of Isidore of Seville's Veneration?
Answer: CANNOTANSWER
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: How did T.E. Lawrence get interested in antiquities and archaeology?
Answer: Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities,
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: Did T.E. Lawrence attend school?
Answer: From 1907 to 1910, Lawrence read History at Jesus College, Oxford.
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: What did T.E. Lawrence do at the sites?
Answer: studied their monuments and antiquities, and made rubbings of their monumental brasses.
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: Did T.E. Lawrence anywhere else other than Berkshire?
Answer: " In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle,
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: What is an interesting fact about T.E. Lawrence's travels?
Answer: In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot.
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: What did T.E. Lawrence accomplish while in Syria?
Answer: CANNOTANSWER
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: What archaeology did T.E. Lawrence participate in?
Answer: He then went to work on the excavations at Carchemish, near Jerablus in northern Syria,
T. E. Lawrence

Context: At the age of 15, Lawrence and his schoolfriend Cyril Beeson cycled around Berkshire, Buckinghamshire, and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses. Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum. The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found." In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles. In August 1907 Lawrence wrote home: "The Chaignons & the Lamballe people, complimented me on my wonderful French: I have been asked twice since I arrived what part of France I came from".  From 1907 to 1910, Lawrence read History at Jesus College, Oxford. In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000 mi (1,600 km) on foot. Lawrence graduated with First Class Honours after submitting a thesis titled The Influence of the Crusades on European Military Architecture--to the End of the 12th Century, based on his field research with Beeson in France, notably in Chalus, and his solo research in the Middle East. Lawrence was fascinated by the Middle Ages with his brother Arnold writing in 1937 that for him "medieval researches" were a "dream way of escape from bourgeois England".  In 1910 Lawrence was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish, in the expedition that D. G. Hogarth was setting up on behalf of the British Museum. Hogarth arranged a "Senior Demyship", a form of scholarship, for Lawrence at Magdalen College, Oxford, to fund Lawrence's work at PS100 a year.  In December 1910, he sailed for Beirut and on his arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914. He later stated that everything which he had accomplished he owed to Hogarth. While excavating at Carchemish, Lawrence met Gertrude Bell. In 1912 Lawrence worked briefly with Flinders Petrie at Kafr Ammar in Egypt. CANNOTANSWER

Question: who was T.E. Lawrence working for at Carchemish?
Answer: he worked under Hogarth, R. Campbell Thompson of the British Museum, and Leonard Woolley, until 1914.
Bring Me the Horizon

Context: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo.  Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time".  Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music.  Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums. CANNOTANSWER

Question: What influenced Bring Me the Horizon's music style?
Answer: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan,
Bring Me the Horizon

Context: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo.  Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time".  Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music.  Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums. CANNOTANSWER

Question: Did Bring Me the Horizon ever make a statement regarding their influences from At the Gates, Carcass, Pantera, Metallica, and The Dillinger Escape Plan?
Answer: CANNOTANSWER
Bring Me the Horizon

Context: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo.  Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time".  Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music.  Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums. CANNOTANSWER

Question: Who did Bring Me the Horizon model their style after?
Answer: Every Time I Die, Norma Jean, Skycamefalling and Poison the Well;
Bring Me the Horizon

Context: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo.  Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time".  Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music.  Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums. CANNOTANSWER

Question: How did Bring Me the Horizon imitate Every Time I Die, Norma Jean, Skycamefalling and Poison the Well's style makers?
Answer: CANNOTANSWER
Bring Me the Horizon

Context: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo.  Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time".  Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music.  Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums. CANNOTANSWER

Question: Has Bring Me the Horizon always had the same musical style and influences?
Answer: However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica.
Bring Me the Horizon

Context: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo.  Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time".  Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music.  Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums. CANNOTANSWER

Question: Did Bring Me the Horizon stick with any one genre?
Answer: The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre