nc33/multispan_quoref huggingface dataset:
Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution.
The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat.
As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies.
When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization.
His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down.
Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death.
We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.

Question: What is the real last name of the person that was raised on the Balkan Peninsula?
Answer: Lombardi
Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution.
The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat.
As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies.
When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization.
His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down.
Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death.
We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.

Question: What is the real last name of the person disguised as Rudolph Von Hersten?
Answer: Lombardi
Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution.
The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat.
As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies.
When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization.
His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down.
Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death.
We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.

Question: What is the real first name of the person that Lola Morgan wants as a lover?
Answer: James
Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution.
The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat.
As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies.
When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization.
His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down.
Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death.
We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.

Question: What is the real first name of the person that tricks naive young women?
Answer: James
Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution.
The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat.
As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies.
When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization.
His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down.
Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death.
We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.

Question: What is the real last name of the person whose right-arm man kidnaps Dorothy?
Answer: Lombardi
Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution.
The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat.
As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies.
When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization.
His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down.
Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death.
We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.

Question: What is the real first name of the person whose affections are not returned by Lois?
Answer: James
At the end of a raid on a cheese factory, Hubie determines that, based on the amount of cheese the average mouse eats in their lifetime (12 lbs.), they have eaten enough in one night to have lived 2,000 years (48 tons). Claiming that they will never be able to even touch cheese again, and thus believing that they have nothing left to live for, Hubie and Bertie get suicidal and try to get eaten by Claude Cat. Claude is confused by all this and refuses to eat them. Claude finally concludes that he will never again be able to eat mice, has no more reason to live, and also decides to commit suicide. Claude heads outside and punches the dog.
The dog sees Claude standing there blindfolded and with a cigarette in his mouth and asks what is going on. When Claude begs the dog to "massacre" him, and the mice come running out of the house and once again beg Claude to eat them, the dog tries to figure out why Claude no longer wants to eat mice and the mice do not want to eat cheese anymore. Finding out that "it just don't add up," he runs after a passing dog catcher now wanting to get committed and therefore put to sleep, with Claude and the mice following after him, all of them still wanting to end their own lives.

Question: What does the person that Hubie and Bertie want to kill them believe he can never eat again?
Answer: mice
When Johnny Quinlan loses his job in a drug store, he is afraid to tell his wife, Bertha, and therefore keeps up the pretense of leaving each morning for a non-existent job, as he begins the search for a new job. As the days pass and he is unable to find employment, their household, which includes his sister, Lottie, and Bertha's brother, Dan Walsh, goes through what little savings they have.
As he gets more desperate, he agrees to do small jobs for "Nifty" Herman, a small-time gangster.  Nifty had loaned Johnny $15, as part of a plan to entice him to work for him.  After Johnny gets insulted by a common laborer job offer from a neighbor, Nifty lies to him and says that he has a friend who will get him a managerial position at a liquor store.  All Johnny has to do is hold onto a case of high-priced alcohol for a few days.  Dubious, Johnny reluctantly agrees and takes the suitcase back to his apartment.  However, when Bertha finds out who he got the suitcase from, she demands that he return it, threatening to leave him if he doesn't.
Taking the case back to Nifty, he finds the office locked, and so returns home.  When he arrives, his sister's suitor, Charles Newton, is visiting.  Newton is a government agent.  Even though Johnny tries to hide the case, his efforts are futile, and Newton spies it and becomes suspicious, seeing a resemblance to a case he and his men have been attempting to track down.  Opening it, he discovers it contains a cache of drugs.  When he interrogates Johnny, he gets the whole story, and is about to arrest Johnny, when Nifty arrives to retrieve the suitcase.  Johnny tricks Nifty into confessing, and then subdues him, when he is resisting the efforts of Newton and his deputies to arrest him.  The film ends with Johnny being rewarded for the way he handled himself by becoming Newton's assistant.

Question: What is the full name of the person that Nifty offers a lead on a manager's job?
Answer: Johnny Quinlan
When Johnny Quinlan loses his job in a drug store, he is afraid to tell his wife, Bertha, and therefore keeps up the pretense of leaving each morning for a non-existent job, as he begins the search for a new job. As the days pass and he is unable to find employment, their household, which includes his sister, Lottie, and Bertha's brother, Dan Walsh, goes through what little savings they have.
As he gets more desperate, he agrees to do small jobs for "Nifty" Herman, a small-time gangster.  Nifty had loaned Johnny $15, as part of a plan to entice him to work for him.  After Johnny gets insulted by a common laborer job offer from a neighbor, Nifty lies to him and says that he has a friend who will get him a managerial position at a liquor store.  All Johnny has to do is hold onto a case of high-priced alcohol for a few days.  Dubious, Johnny reluctantly agrees and takes the suitcase back to his apartment.  However, when Bertha finds out who he got the suitcase from, she demands that he return it, threatening to leave him if he doesn't.
Taking the case back to Nifty, he finds the office locked, and so returns home.  When he arrives, his sister's suitor, Charles Newton, is visiting.  Newton is a government agent.  Even though Johnny tries to hide the case, his efforts are futile, and Newton spies it and becomes suspicious, seeing a resemblance to a case he and his men have been attempting to track down.  Opening it, he discovers it contains a cache of drugs.  When he interrogates Johnny, he gets the whole story, and is about to arrest Johnny, when Nifty arrives to retrieve the suitcase.  Johnny tricks Nifty into confessing, and then subdues him, when he is resisting the efforts of Newton and his deputies to arrest him.  The film ends with Johnny being rewarded for the way he handled himself by becoming Newton's assistant.

Question: What item does Newton become suspicious of?
Answer: the case
When Johnny Quinlan loses his job in a drug store, he is afraid to tell his wife, Bertha, and therefore keeps up the pretense of leaving each morning for a non-existent job, as he begins the search for a new job. As the days pass and he is unable to find employment, their household, which includes his sister, Lottie, and Bertha's brother, Dan Walsh, goes through what little savings they have.
As he gets more desperate, he agrees to do small jobs for "Nifty" Herman, a small-time gangster.  Nifty had loaned Johnny $15, as part of a plan to entice him to work for him.  After Johnny gets insulted by a common laborer job offer from a neighbor, Nifty lies to him and says that he has a friend who will get him a managerial position at a liquor store.  All Johnny has to do is hold onto a case of high-priced alcohol for a few days.  Dubious, Johnny reluctantly agrees and takes the suitcase back to his apartment.  However, when Bertha finds out who he got the suitcase from, she demands that he return it, threatening to leave him if he doesn't.
Taking the case back to Nifty, he finds the office locked, and so returns home.  When he arrives, his sister's suitor, Charles Newton, is visiting.  Newton is a government agent.  Even though Johnny tries to hide the case, his efforts are futile, and Newton spies it and becomes suspicious, seeing a resemblance to a case he and his men have been attempting to track down.  Opening it, he discovers it contains a cache of drugs.  When he interrogates Johnny, he gets the whole story, and is about to arrest Johnny, when Nifty arrives to retrieve the suitcase.  Johnny tricks Nifty into confessing, and then subdues him, when he is resisting the efforts of Newton and his deputies to arrest him.  The film ends with Johnny being rewarded for the way he handled himself by becoming Newton's assistant.

Question: What is the full name of the person that interrogates Johnny?
Answer: Charles Newton
In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.

Question: What is the name of Philip IV's final child?
Answer: Charles
In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.

Question: What was the name of the king after Philip IV?
Answer: Charles II
In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.

Question: What is the first name of the person that took the throne after Philip IV?
Answer: Charles
In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.

Question: What is the name of the king painted in Las Meninas?
Answer: Philip IV
In 17th-century Spain, painters rarely enjoyed high social status. Painting was regarded as a craft, not an art such as poetry or music. Nonetheless, Velázquez worked his way up through the ranks of the court of Philip IV, and in February 1651 was appointed palace chamberlain (aposentador mayor del palacio). The post brought him status and material reward, but its duties made heavy demands on his time. During the remaining eight years of his life, he painted only a few works, mostly portraits of the royal family. When he painted Las Meninas, he had been with the royal household for 33 years.
Philip IV's first wife, Elizabeth of France, died in 1644; and their only son, Balthasar Charles, died two years later. Lacking an heir, Philip married Mariana of Austria in 1649, and Margaret Theresa (1651–1673) was their first child, and their only one at the time of the painting. Subsequently, she had a short-lived brother Philip Prospero (1657–1661), and then Charles (1661–1700) arrived, who succeeded to the throne as Charles II at the age of three. Velázquez painted portraits of Mariana and her children, and although Philip himself resisted being portrayed in his old age he did allow Velázquez to include him in Las Meninas. In the early 1650s he gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters, by then serving as the palace museum, to use as his studio. It is here that Las Meninas is set. Philip had his own chair in the studio and would often sit and watch Velázquez at work. Although constrained by rigid etiquette, the art-loving king seems to have had a close relationship with the painter. After Velázquez's death, Philip wrote "I am crushed" in the margin of a memorandum on the choice of his successor.During the 1640s and 1650s, Velázquez served as both court painter and curator of Philip IV's expanding collection of European art. He seems to have been given an unusual degree of freedom in the role. He supervised the decoration and interior design of the rooms holding the most valued paintings, adding mirrors, statues and tapestries. He was also responsible for the sourcing, attribution, hanging and inventory of many of the Spanish king's paintings. By the early 1650s, Velázquez was widely respected in Spain as a connoisseur. Much of the collection of the Prado today—including works by Titian, Raphael, and Rubens—were acquired and assembled under Velázquez's curatorship.

Question: What is the full name of the person that gave Velázquez the Pieza Principal ("main room") of the late Balthasar Charles's living quarters?
Answer: Philip IV
The painting was referred to in the earliest inventories as La Familia ("The Family"). A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velázquez's own head inclined to his right rather than his left.The painting has been cut down on both the left and right sides. It was damaged in the fire that destroyed the Alcázar in 1734, and was restored by court painter Juan García de Miranda (1677–1749). The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. After its rescue from the fire, the painting was inventoried as part of the royal collection in 1747–48, and the Infanta was misidentified as Maria Theresa, Margaret Theresa's older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, The Family of Philip IV, which was repeated in the  records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as Las Meninas.In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". However, in the opinion of López-Rey, the "restoration was impeccable". Due to its size, importance, and value, the painting is not lent out for exhibition.

Question: What is the full name of the man who supervised the cleaning of the picture provoked "furious protests"?
Answer: John Brealey
The painting was referred to in the earliest inventories as La Familia ("The Family"). A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velázquez's own head inclined to his right rather than his left.The painting has been cut down on both the left and right sides. It was damaged in the fire that destroyed the Alcázar in 1734, and was restored by court painter Juan García de Miranda (1677–1749). The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. After its rescue from the fire, the painting was inventoried as part of the royal collection in 1747–48, and the Infanta was misidentified as Maria Theresa, Margaret Theresa's older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, The Family of Philip IV, which was repeated in the  records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as Las Meninas.In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". However, in the opinion of López-Rey, the "restoration was impeccable". Due to its size, importance, and value, the painting is not lent out for exhibition.

Question: What is the title of the painting that was referred to in the earliest inventories as La Familia?
Answer: Las Meninas
The painting was referred to in the earliest inventories as La Familia ("The Family"). A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velázquez's own head inclined to his right rather than his left.The painting has been cut down on both the left and right sides. It was damaged in the fire that destroyed the Alcázar in 1734, and was restored by court painter Juan García de Miranda (1677–1749). The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. After its rescue from the fire, the painting was inventoried as part of the royal collection in 1747–48, and the Infanta was misidentified as Maria Theresa, Margaret Theresa's older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, The Family of Philip IV, which was repeated in the  records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as Las Meninas.In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". However, in the opinion of López-Rey, the "restoration was impeccable". Due to its size, importance, and value, the painting is not lent out for exhibition.

Question: What is the name of the artist who later altered the traces of earlier working?
Answer: Velázquez's
The painted surface is divided into quarters horizontally and sevenths vertically; this grid is used to organise the elaborate grouping of characters, and was a common device at the time. Velázquez presents nine figures—eleven if the king and queen's reflected images are included—yet they occupy only the lower half of the canvas.According to López-Rey, the painting has three focal points: the Infanta Margaret Theresa, the self-portrait and the half-length reflected images of King Philip IV and Queen Mariana. In 1960, the art historian Kenneth Clark made the point that the success of the composition is a result first and foremost of the accurate handling of light and shade:
Each focal point involves us in a new set of relations; and to paint a complex group like the Meninas, the painter must carry in his head a single consistent scale of relations which he can apply throughout. He may use all kinds of devices to help him do this—perspective is one of them—but ultimately the truth about a complete visual impression depends on one thing, truth of tone. Drawing may be summary, colours drab, but if the relations of tone are true, the picture will hold.
Velázquez further emphasises the Infanta by his positioning and lighting of her maids of honour, whom he sets opposing one another: to left and right, before and behind the Infanta. The maid to the left faces the light, her brightly lit profile and sleeve creating a diagonal. Her opposite number creates a broader but less defined reflection of her attention, making a diagonal space between them, in which their charge stands protected.A further internal diagonal passes through the space occupied by the Infanta. There is a similar connection between the female dwarf and the figure of Velázquez himself, both of whom look towards the viewer from similar angles, creating a visual tension. The face of Velázquez is dimly lit by light that is reflected, rather than direct. For this reason his features, though not as sharply defined, are more visible than those of the dwarf who is much nearer the light source. This appearance of a total face, full-on to the viewer, draws the attention, and its importance is marked, tonally, by the contrasting frame of dark hair, the light on the hand and brush, and the skilfully placed triangle of light on the artist's sleeve, pointing directly to the face.
From the figure of the artist, the viewer's eye leaps again diagonally into the pictorial space. Another man stands, echoing and opposing the form of the artist, outside rather than inside, made clearly defined and yet barely identifiable by the light and shade. The positioning of such an area of strong tonal contrast right at the rear of the pictorial space is a daring compositional tactic. The shapes of bright light are similar to the irregular light shapes of the foreground Maid of Honour, but the sharply defined door-frame repeats the border of the mirror.

Question: What is the name of the person whose features are not sharply defined?
Answer: Velázquez
In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".

Question: What painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait?
Answer: Las Meninas
In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".

Question: What is the full name of the person who painted a mirror positioned at the back of the pictorial space?
Answer: Jan van Eyck
In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see".

Question: What is the name of the painting that is a a reflection of ideal character?
Answer: Las Meninas