nc33/multispan_quoref huggingface dataset:
The former "Water Level Route" of the New York Central Railroad travels directly through Erie. It is now the mainline for CSX freight trains. The mainline of the Norfolk Southern Railway, originally built by the Nickel Plate Railroad, also travels through Erie. At one time Norfolk Southern trains ran down the middle of 19th Street, but were removed in 2002. Passenger rail service is provided by Amtrak's Lake Shore Limited out of Union Station at 14th and State Streets. The Lake Shore Limited stops twice daily—one eastbound towards New York City or Boston, and one westbound towards Chicago.
Erie International Airport / Tom Ridge Field (IATA code: ERI; IACO code: KERI) is located 5 miles (8.0 km) west of the city and hosts general aviation, charter, and airline service. Destinations with non-stop flights out of Erie include Chicago O'Hare International Airport via United Airlines, Philadelphia International Airport via American Airlines and Detroit Metropolitan Wayne County Airport via Delta Air Lines. Erie International is in the midst of a $80.5 million runway extension. The extension is slated to increase the runway's length by 1,920 feet (590 m), for a total runway length of 8,420 feet (2,600 m), "to meet safety requirements" as well as allowing the airport to accommodate larger aircraft.The Port of Erie is located on Presque Isle Bay, a natural harbor formed by Presque Isle. It offers some of the finest port facilities for cargo shipping on the Great Lakes, with direct rail access. The Erie−Western Pennsylvania Port Authority provides water taxi service in the summer months between Dobbins Landing and Liberty Park in downtown Erie, and the Waterworks ferry landing on Presque Isle.

Question: What are the three organizations that provide transportation other than automobile out of Erie?
Answer: Erie International Airport / Tom Ridge Field, Erie−Western Pennsylvania Port Authority, Amtrak
The former "Water Level Route" of the New York Central Railroad travels directly through Erie. It is now the mainline for CSX freight trains. The mainline of the Norfolk Southern Railway, originally built by the Nickel Plate Railroad, also travels through Erie. At one time Norfolk Southern trains ran down the middle of 19th Street, but were removed in 2002. Passenger rail service is provided by Amtrak's Lake Shore Limited out of Union Station at 14th and State Streets. The Lake Shore Limited stops twice daily—one eastbound towards New York City or Boston, and one westbound towards Chicago.
Erie International Airport / Tom Ridge Field (IATA code: ERI; IACO code: KERI) is located 5 miles (8.0 km) west of the city and hosts general aviation, charter, and airline service. Destinations with non-stop flights out of Erie include Chicago O'Hare International Airport via United Airlines, Philadelphia International Airport via American Airlines and Detroit Metropolitan Wayne County Airport via Delta Air Lines. Erie International is in the midst of a $80.5 million runway extension. The extension is slated to increase the runway's length by 1,920 feet (590 m), for a total runway length of 8,420 feet (2,600 m), "to meet safety requirements" as well as allowing the airport to accommodate larger aircraft.The Port of Erie is located on Presque Isle Bay, a natural harbor formed by Presque Isle. It offers some of the finest port facilities for cargo shipping on the Great Lakes, with direct rail access. The Erie−Western Pennsylvania Port Authority provides water taxi service in the summer months between Dobbins Landing and Liberty Park in downtown Erie, and the Waterworks ferry landing on Presque Isle.

Question: What types of air transportation are provided at the airport that will have a new runway length of 8,420 feet?
Answer: aviation, charter, airline
Starting approximately 40 million years ago in the middle Eocene, a braided river system called the "Ancestral Rogue River" flowed through the region where the Rogue Valley is now carved. For about 2.1 million years, the river deposited what is now known as the Payne Cliffs Formation by laying down a thin conglomerate, followed by arkosic sandstone and siltstone. Between 10 and 20 million years ago, the uplift that created the nearby Klamath Mountains caused an incision that formed the Rogue River valley. Vertical erosion, or downcutting of the Rogue River continues to keep pace with the recent uplift, with about 690 feet (210 m) of erosion occurring in the past seven million years.Approximately seven million years ago in the upper Miocene, a 44-mile (71 km) long trachyandesitic lava flow that likely came from Olson Mountain near present-day Lost Creek Lake flowed down the Ancestral Rogue River and its tributaries and spread throughout the valley. This lava formed a hard cap over the Payne Cliffs Formation. At Lost Creek Lake, the lava attained its maximum thickness of 730 feet (220 m) and thinned to about 100 to 200 feet (30 to 61 m) to the north of Medford.
 
Since the Olson eruption, the Rogue River has eroded 90 percent of the solidified lava. Though the andesite prevented much erosion to the caps of the Table Rocks, the andesite-capped cliffs eroded from the side as the softer sedimentary units of the Payne Cliffs Formation gave way. This erosion created expansive talus fields which surround the plateaus on all sides, creating slopes capable of supporting abundant plant and animal life. Upper and Lower Table Rock both stand 800 feet (240 m) above the valley floor, and just over 2,000 feet (610 m) above sea level. There are approximately 300 acres (120 ha) of level ground on Lower Table Rock, and 500 acres (200 ha) on Upper Table Rock.The Table Rocks offer an example of inverted relief, in which previous topographic lows are filled with a resistant rock and become new topographic highs after the erosion of the surrounding region. Each plateau is shaped roughly like a horseshoe because the lava followed the meanders of the Ancestral Rogue River.
Two caves and two former gold mines are located at the base of the andesite cap on Upper Table Rock. The caves were created by natural fractures in the cap, and the gold mines were excavated by prospectors searching for gold in the 19th century. Three are large enough to walk into, with an average width of 8 feet (2 m), while one is a small pit, dropping 30 feet (9.1 m) vertically into a pond of water.

Question: What creates slopes capable of supporting abundant plant and animal life?
Answer: talus fields
Starting approximately 40 million years ago in the middle Eocene, a braided river system called the "Ancestral Rogue River" flowed through the region where the Rogue Valley is now carved. For about 2.1 million years, the river deposited what is now known as the Payne Cliffs Formation by laying down a thin conglomerate, followed by arkosic sandstone and siltstone. Between 10 and 20 million years ago, the uplift that created the nearby Klamath Mountains caused an incision that formed the Rogue River valley. Vertical erosion, or downcutting of the Rogue River continues to keep pace with the recent uplift, with about 690 feet (210 m) of erosion occurring in the past seven million years.Approximately seven million years ago in the upper Miocene, a 44-mile (71 km) long trachyandesitic lava flow that likely came from Olson Mountain near present-day Lost Creek Lake flowed down the Ancestral Rogue River and its tributaries and spread throughout the valley. This lava formed a hard cap over the Payne Cliffs Formation. At Lost Creek Lake, the lava attained its maximum thickness of 730 feet (220 m) and thinned to about 100 to 200 feet (30 to 61 m) to the north of Medford.
 
Since the Olson eruption, the Rogue River has eroded 90 percent of the solidified lava. Though the andesite prevented much erosion to the caps of the Table Rocks, the andesite-capped cliffs eroded from the side as the softer sedimentary units of the Payne Cliffs Formation gave way. This erosion created expansive talus fields which surround the plateaus on all sides, creating slopes capable of supporting abundant plant and animal life. Upper and Lower Table Rock both stand 800 feet (240 m) above the valley floor, and just over 2,000 feet (610 m) above sea level. There are approximately 300 acres (120 ha) of level ground on Lower Table Rock, and 500 acres (200 ha) on Upper Table Rock.The Table Rocks offer an example of inverted relief, in which previous topographic lows are filled with a resistant rock and become new topographic highs after the erosion of the surrounding region. Each plateau is shaped roughly like a horseshoe because the lava followed the meanders of the Ancestral Rogue River.
Two caves and two former gold mines are located at the base of the andesite cap on Upper Table Rock. The caves were created by natural fractures in the cap, and the gold mines were excavated by prospectors searching for gold in the 19th century. Three are large enough to walk into, with an average width of 8 feet (2 m), while one is a small pit, dropping 30 feet (9.1 m) vertically into a pond of water.

Question: What is there 500 acres of on Upper Table Rock?
Answer: level ground
Four overlapping ecological regions have been identified on the Table Rocks, with considerable differences in the variety of wildlife found in each. From the outermost base of the rocks, three regions consisting of oak savanna, chaparral, and mixed woodland surround the relatively flat tops. The andesite cap is covered by the fourth region, mounded prairie. This region formed when the caps were slowly eroded by the freezing and thawing of water that seeped into the ground (ice erosion), which created layers of mounded soil. Vernal pools fill in from October to June in the mounded prairie area due to the andesite's impermeability. The pools support species of plants and animals.
Over 340 species of plants grow on the rocks, including approximately 200 species of wildflowers. Some of the most common wildflowers are western buttercups, desert parsley, bicolor lupine, and California goldfields. Camas and death camas also grow on the rocks. Camas produces an edible bulb, while death camas is poisonous and was used by the Takelma as an anesthetic.More than 70 species of animals are known to live on the Table Rocks. Lizards such as the western fence lizard, southern alligator lizard, and western skink have been seen in all four regions of the Table Rocks. Western rattlesnakes and two species of garter snakes also live in all regions. Black-tailed deer, coyotes, and bobcats are some of the mammals that live on the Table Rocks. The rocks are also home to western black-legged ticks, although they are mainly found in the chaparral region. Many species of birds live on the rocks.The Table Rocks experience a Mediterranean climate. The average wind speed in the area is less than 6 miles per hour (10 km/h), and the annual precipitation is approximately 18 inches (460 mm) due to the rain shadow created by the Klamath Mountains. It rarely snows in the winter.

Question: What ecological region is not on the outermost base of the Table Rocks?
Answer: mounded prairie
Four overlapping ecological regions have been identified on the Table Rocks, with considerable differences in the variety of wildlife found in each. From the outermost base of the rocks, three regions consisting of oak savanna, chaparral, and mixed woodland surround the relatively flat tops. The andesite cap is covered by the fourth region, mounded prairie. This region formed when the caps were slowly eroded by the freezing and thawing of water that seeped into the ground (ice erosion), which created layers of mounded soil. Vernal pools fill in from October to June in the mounded prairie area due to the andesite's impermeability. The pools support species of plants and animals.
Over 340 species of plants grow on the rocks, including approximately 200 species of wildflowers. Some of the most common wildflowers are western buttercups, desert parsley, bicolor lupine, and California goldfields. Camas and death camas also grow on the rocks. Camas produces an edible bulb, while death camas is poisonous and was used by the Takelma as an anesthetic.More than 70 species of animals are known to live on the Table Rocks. Lizards such as the western fence lizard, southern alligator lizard, and western skink have been seen in all four regions of the Table Rocks. Western rattlesnakes and two species of garter snakes also live in all regions. Black-tailed deer, coyotes, and bobcats are some of the mammals that live on the Table Rocks. The rocks are also home to western black-legged ticks, although they are mainly found in the chaparral region. Many species of birds live on the rocks.The Table Rocks experience a Mediterranean climate. The average wind speed in the area is less than 6 miles per hour (10 km/h), and the annual precipitation is approximately 18 inches (460 mm) due to the rain shadow created by the Klamath Mountains. It rarely snows in the winter.

Question: Which Table Rocks region has pools that sustain species of plants and animals?
Answer: mounded prairie
Four overlapping ecological regions have been identified on the Table Rocks, with considerable differences in the variety of wildlife found in each. From the outermost base of the rocks, three regions consisting of oak savanna, chaparral, and mixed woodland surround the relatively flat tops. The andesite cap is covered by the fourth region, mounded prairie. This region formed when the caps were slowly eroded by the freezing and thawing of water that seeped into the ground (ice erosion), which created layers of mounded soil. Vernal pools fill in from October to June in the mounded prairie area due to the andesite's impermeability. The pools support species of plants and animals.
Over 340 species of plants grow on the rocks, including approximately 200 species of wildflowers. Some of the most common wildflowers are western buttercups, desert parsley, bicolor lupine, and California goldfields. Camas and death camas also grow on the rocks. Camas produces an edible bulb, while death camas is poisonous and was used by the Takelma as an anesthetic.More than 70 species of animals are known to live on the Table Rocks. Lizards such as the western fence lizard, southern alligator lizard, and western skink have been seen in all four regions of the Table Rocks. Western rattlesnakes and two species of garter snakes also live in all regions. Black-tailed deer, coyotes, and bobcats are some of the mammals that live on the Table Rocks. The rocks are also home to western black-legged ticks, although they are mainly found in the chaparral region. Many species of birds live on the rocks.The Table Rocks experience a Mediterranean climate. The average wind speed in the area is less than 6 miles per hour (10 km/h), and the annual precipitation is approximately 18 inches (460 mm) due to the rain shadow created by the Klamath Mountains. It rarely snows in the winter.

Question: Besides desert parsley and California goldfields, what are the most common wildflowers that grow on the Table Rocks?
Answer: bicolor lupine, western buttercups
Four overlapping ecological regions have been identified on the Table Rocks, with considerable differences in the variety of wildlife found in each. From the outermost base of the rocks, three regions consisting of oak savanna, chaparral, and mixed woodland surround the relatively flat tops. The andesite cap is covered by the fourth region, mounded prairie. This region formed when the caps were slowly eroded by the freezing and thawing of water that seeped into the ground (ice erosion), which created layers of mounded soil. Vernal pools fill in from October to June in the mounded prairie area due to the andesite's impermeability. The pools support species of plants and animals.
Over 340 species of plants grow on the rocks, including approximately 200 species of wildflowers. Some of the most common wildflowers are western buttercups, desert parsley, bicolor lupine, and California goldfields. Camas and death camas also grow on the rocks. Camas produces an edible bulb, while death camas is poisonous and was used by the Takelma as an anesthetic.More than 70 species of animals are known to live on the Table Rocks. Lizards such as the western fence lizard, southern alligator lizard, and western skink have been seen in all four regions of the Table Rocks. Western rattlesnakes and two species of garter snakes also live in all regions. Black-tailed deer, coyotes, and bobcats are some of the mammals that live on the Table Rocks. The rocks are also home to western black-legged ticks, although they are mainly found in the chaparral region. Many species of birds live on the rocks.The Table Rocks experience a Mediterranean climate. The average wind speed in the area is less than 6 miles per hour (10 km/h), and the annual precipitation is approximately 18 inches (460 mm) due to the rain shadow created by the Klamath Mountains. It rarely snows in the winter.

Question: What kind of ticks can be found on the Table Rocks?
Answer: western black-legged ticks
A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh.

Question: Who is going to get a beating from an enforcer if he doesn't pay back Bill and Harry?
Answer: Nick Wrigley
A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh.

Question: What relation is the person in Danny's family he feels closest to?
Answer: uncle
A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh.

Question: What costume is the troubled and irresponsible man wearing while escaping from Eliot?
Answer: Santa Claus
A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh.

Question: Who is Danny's uncle running from?
Answer: Eliot
A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh.

Question: What does Danny's nephew use to go home after he discovers that Danny is stealing from the houses?
Answer: sleigh
A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh.

Question: What job do Nick's brother and sister-in-law hold?
Answer: doctors
The attribution of the panel reflects the progression and trends of 19th and 20th-century scholarship on Early Netherlandish art. It is now thought to have been completed c. 1438–40, but there are still arguments for dates as early as 1424–29. As with the pages ascribed to Hand G in the Turin-Milan Hours manuscript, the panel was attributed to Jan's brother Hubert van Eyck in the 1875 Gemäldegalerie catalogue, and by a 1911 claim by art historian Georges Hulin de Loo. This is no longer considered credible and Hubert, today, is credited with very few works. By 1912 the painting had been definitively attributed to Jan in the museum catalogue.Attempts to date it have undergone similar shifts of opinion. In the 19th century the panel was believed to be an early work by Jan completed as early as c. 1410, although this view changed as scholarship progressed. In the early 20th century, Ludwig von Baldass placed it around 1424–29, then for a long period it was seen as originating from the early 1430s. Erwin Panofsky provided the first detailed treatise on the work and placed it around 1432–34. However, following research from Meyer Schapiro, he revised his opinion to the late 1430s in the 1953 edition of his Early Netherlandish Painting. A 1970s comparative study of van Eyck's 1437 Saint Barbara concluded that Madonna in the Church was completed after c. 1437. In the 1990s, Otto Pächt judged the work as probably a late van Eyck, given the similar treatment of an interior in the 1434 Arnolfini Portrait. In the early 21st century, Jeffrey Chipps Smith and John Oliver Hand placed it between 1426 and 1428, claiming it as perhaps the earliest extant signed work confirmed as by Jan.

Question: What is the full name of the person who is credited with very few works?
Answer: Hubert van Eyck
Unusual for a 13th-century Gothic cathedral, most of the windows are of clear glass.
Looking at the windows running along the nave, John L. Ward observed that the window directly above the suspended crucifix is the only one whose uppermost portion is visible. That window directly faces the viewer, revealing intricately designed stained glass panels that show intertwined red and blue flowers. Because the window is so far back in the pictorial space, where perspective is becoming faint, the proximity of the flowers to the crucifix lends them the appearance of coming "forward in space, as if [they] had suddenly grown from the top of the crucifix in front of it."Ward does not believe this a trick of the eye resulting from loss of perspective towards the high reaches of the panel. Instead he sees it as a subtle reference to the iconography and mythology of the Book of Genesis' Tree of life, which he describes here as "reborn in Christ's death". He does acknowledge the subtlety of the illusion, and the fact that neither of the two well known near copies include the motif. The idea of flowers shown as if sprouting from the top of the cross may have been borrowed from Masaccio's c. 1426 Crucifixion, where flowers are placed on the upper portion of the vertical beam of the cross. Ward concludes than van Eyck took the idea even further by showing the flowers emanating from another source, and sought to depict the actual moment where the tree of life is reborn and "the cross comes to life and sprouts flowers as one watches".

Question: What is the last name of the person who does acknowledge the subtlety of the illusion, and the fact that neither of the two well known near copies include the motif?
Answer: Ward
Unusual for a 13th-century Gothic cathedral, most of the windows are of clear glass.
Looking at the windows running along the nave, John L. Ward observed that the window directly above the suspended crucifix is the only one whose uppermost portion is visible. That window directly faces the viewer, revealing intricately designed stained glass panels that show intertwined red and blue flowers. Because the window is so far back in the pictorial space, where perspective is becoming faint, the proximity of the flowers to the crucifix lends them the appearance of coming "forward in space, as if [they] had suddenly grown from the top of the crucifix in front of it."Ward does not believe this a trick of the eye resulting from loss of perspective towards the high reaches of the panel. Instead he sees it as a subtle reference to the iconography and mythology of the Book of Genesis' Tree of life, which he describes here as "reborn in Christ's death". He does acknowledge the subtlety of the illusion, and the fact that neither of the two well known near copies include the motif. The idea of flowers shown as if sprouting from the top of the cross may have been borrowed from Masaccio's c. 1426 Crucifixion, where flowers are placed on the upper portion of the vertical beam of the cross. Ward concludes than van Eyck took the idea even further by showing the flowers emanating from another source, and sought to depict the actual moment where the tree of life is reborn and "the cross comes to life and sprouts flowers as one watches".

Question: What is the last name of the person who observed that the window directly above the suspended crucifix is the only one whose uppermost portion is visible?
Answer: Ward
Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.

Question: What is the first name of the person who had a jewel-studded crown?
Answer: Mary
Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.

Question: What is the first name of the person who in enveloped by the throne room?
Answer: Mary
Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.

Question: What is the first name of the person whose monumental stature reflects a tradition reaching back to an Italo-Byzantine type?
Answer: Mary
Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.

Question: What is the first name of the person whose size represents her embodiment as the church ?
Answer: Mary
Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.

Question: What is the first name of the person whose scale is attributed as the mistake of a relatively immature painter?
Answer: Mary
Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.

Question: What is the first name of the person who probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel?
Answer: Mary