gaussalgo/Canard_Wiki-augmented huggingface dataset:
Matthew Paris

Context: In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.  Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.  Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER

Question: What were Matthew Paris' new compositions?
Answer: His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive.
Matthew Paris

Context: In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.  Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.  Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER

Question: Did Matthew Paris go to school to learn his art?
Answer: CANNOTANSWER
Matthew Paris

Context: In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.  Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.  Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER

Question: What are Matthew Paris' famous works?
Answer: What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I.
Matthew Paris

Context: In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.  Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.  Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER

Question: Besides his green and blue tinted works, did Matthew Paris do any other color works?
Answer: His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is
Matthew Paris

Context: In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.  Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.  Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER

Question: Did Matthew Paris follow any artistic movements?
Answer: In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" -
Matthew Paris

Context: In some of Paris' manuscripts, a framed miniature occupies the upper half of the page, and in others they are "marginal" - unframed and occupying the bottom quarter (approximately) of the page. Tinted drawings were an established style well before Paris, and became especially popular in the first half of the 13th century. They were certainly much cheaper and quicker than fully painted illuminations. The tradition of tinted drawings or outline drawings with ink supplemented by coloured wash was distinctively English, dating back to the Anglo-Saxon art of the mid-10th century, and connected with the English Benedictine Reform of the period. A strong influence on one branch of the style was the Carolingian Utrecht Psalter, which was at Canterbury from about 1000 to 1640. This was copied in the 1020s in the Harley Psalter, and in the Eadwine Psalter of the mid-12th century.  Recent scholarship, notably that of Nigel Morgan, suggests that Paris' influence on other artists of the period has been exaggerated. This is likely because so much more is known about him than other English illuminators of the period, who are mostly anonymous. Most manuscripts seem to have been produced by lay artists in this period. William de Brailes is shown with a clerical tonsure, but he was married, which suggests he had minor orders only. The manuscripts produced by Paris show few signs of collaboration, but art historians detect a School of St Albans' surviving after Paris' death, influenced by him.  Paris' style suggests that it was formed by works from around 1200. He was somewhat old-fashioned in retaining a roundness in his figures, rather than adopting the thin angularity of most of his artist contemporaries, especially those in London. His compositions are very inventive; his position as a well-connected monk may have given him more confidence in creating new compositions, whereas a lay artist would prefer to stick to traditional formulae. It may also reflect the lack of full training in the art of the period. His colouring emphasises green and blue, and together with his characteristic layout of a picture in the top half of a page, is relatively distinctive. What are probably his final sketches are found in Vitae duorum Offarum in BL MS Cotton Nero D I. CANNOTANSWER

Question: Was Matthew Paris recognized for his talent?
Answer: CANNOTANSWER
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: What was Leonardo da Vinci's first love
Answer: Leonardo was apprenticed to the artist Andrea di Cione,
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: WHat year was Leonardo da Vinci apprenticed to the artist Andrea di Cione?
Answer: 1466,
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: What was Leonardo da Vinci known for?
Answer: known as Verrocchio,
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: What did Leonardo da Vinci teach him
Answer: whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: What did Leonardo da Vinci do
Answer: Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio,
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: Other than Domenico Ghirlandaio who else?
Answer: Perugino, Botticelli,
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: Along with Perugino, Botticelli, who else?
Answer: Perugino, Botticelli,
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: What was Leonardo da Vinci's first painting?
Answer: Verrocchio on his The Baptism of Christ,
Leonardo da Vinci

Context: In 1466, at the age of fourteen, Leonardo was apprenticed to the artist Andrea di Cione, known as Verrocchio, whose bottega (workshop) was "one of the finest in Florence". He apprenticed as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and would do so for 7 years). Other famous painters apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to both theoretical training and a vast range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.  Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ, painting the young angel holding Jesus' robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again, although this is believed to be apocryphal. Close examination reveals areas that have been painted or touched-up over the tempera using the new technique of oil paint; the landscape, the rocks seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo. Leonardo may have been the model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in Tobias and the Angel.  By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on 5 August 1473. CANNOTANSWER

Question: What did Leonardo da Vinci like
Answer: young angel holding Jesus' robe in a manner that was so far superior to his master's
Madhvacharya

Context: The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.  Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature.  Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings.  According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva.  A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER

Question: what is Madhvacharya biography?
Answer: The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.
Madhvacharya

Context: The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.  Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature.  Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings.  According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva.  A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER

Question: was Madhvacharya married?
Answer: became a monk or Sannyasi in his teenage.
Madhvacharya

Context: The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.  Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature.  Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings.  According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva.  A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER

Question: what was Madhvacharya greatest accomplishment?
Answer: began his own Dvaita movement based on dualism premises of Dvi -
Madhvacharya

Context: The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.  Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature.  Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings.  According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva.  A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER

Question: what was Dvaita movement?
Answer: asserting that human soul and god (as Vishnu) are two different things.
Madhvacharya

Context: The biography of Madhvacharya is unclear. Many sources date him to 1238-1317 period, but some place him about the 1199-1278 period.  Madhvacarya was born in Pajaka near Udupi, a coastal Malabar region of south-west India in the state of Karnataka. Traditionally it is believed that Naddantillaya (Sanskrit: Madhyageha, Madhyamandira) was the name of his father and Vedavati was Madhvacarya's mother. Born in a Vaishnavite Brahmin household, he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (or just Madhva). Purnaprajna was the name given to him at the time of his initiation into sannyasa (renunciation), as a teenager. The name conferred on him when he became the head of his monastery was "Ananda Tirtha". All three of his later names are found in his works. Madhvacarya or Madhva are names most commonly found in modern literature on him, or Dvaita Vedanta related literature.  Madhva began his school after his Upanayana at age seven, became a monk or Sannyasi in his teenage. He joined an Advaita Vedanta monastery in Dwarka (Gujarat), accepted his guru to be Achyutrapreksha, who is also referred to as Achyutraprajna in some sources. Madhva studied the Upanishads and the Advaita literature, but was unconvinced by its nondualism philosophy of oneness of human soul and god, had frequent disagreements with his guru, left the monastery, and began his own Dvaita movement based on dualism premises of Dvi - asserting that human soul and god (as Vishnu) are two different things. Madhva never acknowledged Achyutrapreksha as his guru or his monastic lineage in his writings.  According to Dehsen, perhaps there were two individuals named Madhvacharya in 13th century India, with Anandatirtha - the younger Madhva being the most important early disciple of the elder Madhvacharya, and their works and life overlapped in Udupi, Tattvavada being the name adopted for Dvaita Vedanta by Anandatirtha. Madhvacharya established a matha (monastery) dedicated to Dvaita philosophy, and this became the sanctuary for a series of Dvaita scholars such as Jayatirtha, Vyasatirtha, Vadiraja Tirtha and Raghavendra Tirtha who followed in footsteps of Madhva.  A number of hagiographies have been written by Madhva's disciples and followers. Of these, the most referred to is the sixteen cantos Sanskrit biography Madhvavijaya by Narayana Panditacarya - son of Trivikrama Pandita, who himself was a disciple of Madhva. CANNOTANSWER

Question: what is the most important fact mentioned in this article about Madhvacharya?
Answer: he was named Vasudeva. Later he became famous by the names Purnaprajna, Anandatirtha and Madhvacarya (