niryuu/sni-each-converted huggingface dataset:
Passage: The most promising but also the most challenging method of isotope separation was gaseous diffusion. Graham's law states that the rate of effusion of a gas is inversely proportional to the square root of its molecular mass, so in a box containing a semi-permeable membrane and a mixture of two gases, the lighter molecules will pass out of the container more rapidly than the heavier molecules. The gas leaving the container is somewhat enriched in the lighter molecules, while the residual gas is somewhat depleted. The idea was that such boxes could be formed into a cascade of pumps and membranes, with each successive stage containing a slightly more enriched mixture. Research into the process was carried out at Columbia University by a group that included Harold Urey, Karl P. Cohen and John R. Dunning.In November 1942 the Military Policy Committee approved the construction of a 600-stage gaseous diffusion plant. On 14 December, M. W. Kellogg accepted an offer to construct the plant, which was codenamed K-25. A cost plus fixed fee contract was negotiated, eventually totaling $2.5 million. A separate corporate entity called Kellex was created for the project, headed by Percival C. Keith, one of Kellogg's vice presidents. The process faced formidable technical difficulties. The highly corrosive gas uranium hexafluoride had to be used, as no substitute could be found, and the motors and pumps would have to be vacuum tight and enclosed in inert gas. The biggest problem was the design of the barrier, which would have to be strong, porous and resistant to corrosion by uranium hexafluoride. The best choice for this seemed to be nickel, and Edward Adler and Edward Norris created a mesh barrier from electroplated nickel. A six-stage pilot plant was built at Columbia to test the process, but the Norris-Adler prototype proved to be too brittle. A rival barrier was developed from powdered nickel by Kellex, the Bell Telephone Laboratories and the Bakelite Corporation. In January 1944, Groves ordered the Kellex barrier into production.
Output: What is the full name of the person Percival C. Keith worked for?
Passage: Eight-year-old Ardal Travis has a crush on his second class teacher, Ms. Purdy. He demonstrates his affections by giving her a toy ring. While shopping with his mother, Ardal sees Ms. Purdy, who happily explains that she has just been proposed to by her boyfriend Pierce and is engaged to be married. Pierce appears to be a jerk: he refuses to take Ms. Purdy for lunch to celebrate the hour-old engagement, instead insisting on going home to watch football.
Ardal sees his dad put a gun carefully in the closet; he stares into the closet contemplating his options.
Ardal confronts Pierce while Pierce is impatiently waiting for Ms. Purdy outside of the school.  Ardal challenges Pierce to a duel to the death, which Pierce mockingly accepts.
The next day, Ardal meets Pierce in the school yard. Pierce forgets his gun on purpose and Ardal pulls a gun on him. Pierce at first believes it is a toy, but Ardal insists it is not. Ms. Purdy attempts to intervene but Ardal refuses to back down. Pierce, reduced to a crying mess says he never loved Ms. Purdy but only proposed to her to "shut her up." Ardal shoots Pierce and he falls to the ground.  
It is revealed that the gun was a toy after all, one that Ardal's father was saving in the closet until his birthday. Ms. Purdy angrily calls off the engagement and breaks up with Pierce. She walks Ardal home, agreeing to "keep this between ourselves." Ardal then tells Ms. Purdy that he doesn't deserve to marry her as well because he is "financially unstable and can't cater to all [her] needs" and that a woman like his teacher should get everything she wants. They then continue to walk hand in hand.
At the beginning of the movie Ms. Purdy asked her students to look up the three words (Reveal, Pretend and Love), these three words summarize the whole film .
Output: What is the first name of the person who stared at the closet?
Passage: Eight-year-old Ardal Travis has a crush on his second class teacher, Ms. Purdy. He demonstrates his affections by giving her a toy ring. While shopping with his mother, Ardal sees Ms. Purdy, who happily explains that she has just been proposed to by her boyfriend Pierce and is engaged to be married. Pierce appears to be a jerk: he refuses to take Ms. Purdy for lunch to celebrate the hour-old engagement, instead insisting on going home to watch football.
Ardal sees his dad put a gun carefully in the closet; he stares into the closet contemplating his options.
Ardal confronts Pierce while Pierce is impatiently waiting for Ms. Purdy outside of the school.  Ardal challenges Pierce to a duel to the death, which Pierce mockingly accepts.
The next day, Ardal meets Pierce in the school yard. Pierce forgets his gun on purpose and Ardal pulls a gun on him. Pierce at first believes it is a toy, but Ardal insists it is not. Ms. Purdy attempts to intervene but Ardal refuses to back down. Pierce, reduced to a crying mess says he never loved Ms. Purdy but only proposed to her to "shut her up." Ardal shoots Pierce and he falls to the ground.  
It is revealed that the gun was a toy after all, one that Ardal's father was saving in the closet until his birthday. Ms. Purdy angrily calls off the engagement and breaks up with Pierce. She walks Ardal home, agreeing to "keep this between ourselves." Ardal then tells Ms. Purdy that he doesn't deserve to marry her as well because he is "financially unstable and can't cater to all [her] needs" and that a woman like his teacher should get everything she wants. They then continue to walk hand in hand.
At the beginning of the movie Ms. Purdy asked her students to look up the three words (Reveal, Pretend and Love), these three words summarize the whole film .
Output: What is the first name of the person who got engaged to Ms. Purdy, but didn't love her?
Passage: Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless, under Solti, the company was recognised as having achieved parity with the greatest opera houses in the world. Queen Elizabeth II conferred the title "the Royal Opera" on the company in 1968. By this point Solti was, in the words of his biographer Paul Robinson, "after Karajan, the most celebrated conductor at work". By the end of his decade as music director at Covent Garden Solti had conducted the company in 33 operas by 13 composers.In 1964 Solti separated from his wife. He moved into the Savoy Hotel, where not long afterwards he met Valerie Pitts, a British television presenter, sent to interview him. She too was married, but after pursuing her for three years, Solti persuaded her to divorce her husband. Solti and Valerie Pitts married on 11 November 1967. They had two daughters.
Output: What was the full name of the person that had their car vandalised?
Passage: Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless, under Solti, the company was recognised as having achieved parity with the greatest opera houses in the world. Queen Elizabeth II conferred the title "the Royal Opera" on the company in 1968. By this point Solti was, in the words of his biographer Paul Robinson, "after Karajan, the most celebrated conductor at work". By the end of his decade as music director at Covent Garden Solti had conducted the company in 33 operas by 13 composers.In 1964 Solti separated from his wife. He moved into the Savoy Hotel, where not long afterwards he met Valerie Pitts, a British television presenter, sent to interview him. She too was married, but after pursuing her for three years, Solti persuaded her to divorce her husband. Solti and Valerie Pitts married on 11 November 1967. They had two daughters.
Output: What was the full name of the person that Sir David Webster persuaded to stay with the Covent Garden?
Passage: Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless, under Solti, the company was recognised as having achieved parity with the greatest opera houses in the world. Queen Elizabeth II conferred the title "the Royal Opera" on the company in 1968. By this point Solti was, in the words of his biographer Paul Robinson, "after Karajan, the most celebrated conductor at work". By the end of his decade as music director at Covent Garden Solti had conducted the company in 33 operas by 13 composers.In 1964 Solti separated from his wife. He moved into the Savoy Hotel, where not long afterwards he met Valerie Pitts, a British television presenter, sent to interview him. She too was married, but after pursuing her for three years, Solti persuaded her to divorce her husband. Solti and Valerie Pitts married on 11 November 1967. They had two daughters.
Output: What was the name of the singer that called George Solti a bully?
Passage: Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless, under Solti, the company was recognised as having achieved parity with the greatest opera houses in the world. Queen Elizabeth II conferred the title "the Royal Opera" on the company in 1968. By this point Solti was, in the words of his biographer Paul Robinson, "after Karajan, the most celebrated conductor at work". By the end of his decade as music director at Covent Garden Solti had conducted the company in 33 operas by 13 composers.In 1964 Solti separated from his wife. He moved into the Savoy Hotel, where not long afterwards he met Valerie Pitts, a British television presenter, sent to interview him. She too was married, but after pursuing her for three years, Solti persuaded her to divorce her husband. Solti and Valerie Pitts married on 11 November 1967. They had two daughters.
Output: What is the name of the person that wrote Georg Solti's biography?
Passage: Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless, under Solti, the company was recognised as having achieved parity with the greatest opera houses in the world. Queen Elizabeth II conferred the title "the Royal Opera" on the company in 1968. By this point Solti was, in the words of his biographer Paul Robinson, "after Karajan, the most celebrated conductor at work". By the end of his decade as music director at Covent Garden Solti had conducted the company in 33 operas by 13 composers.In 1964 Solti separated from his wife. He moved into the Savoy Hotel, where not long afterwards he met Valerie Pitts, a British television presenter, sent to interview him. She too was married, but after pursuing her for three years, Solti persuaded her to divorce her husband. Solti and Valerie Pitts married on 11 November 1967. They had two daughters.
Output: Where did Georg Solti meet Valerie Pitts?
Passage: Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless, under Solti, the company was recognised as having achieved parity with the greatest opera houses in the world. Queen Elizabeth II conferred the title "the Royal Opera" on the company in 1968. By this point Solti was, in the words of his biographer Paul Robinson, "after Karajan, the most celebrated conductor at work". By the end of his decade as music director at Covent Garden Solti had conducted the company in 33 operas by 13 composers.In 1964 Solti separated from his wife. He moved into the Savoy Hotel, where not long afterwards he met Valerie Pitts, a British television presenter, sent to interview him. She too was married, but after pursuing her for three years, Solti persuaded her to divorce her husband. Solti and Valerie Pitts married on 11 November 1967. They had two daughters.
Output: What is the full name of the person Valerie Pitts was suppose to interview?
Passage: Ghosts I–IV is the sixth studio album by American industrial rock band Nine Inch Nails, released on March 2, 2008 by The Null Corporation. It was the band's first independent release, following their split from longtime label Interscope Records the prior year. The album's production team included Nine Inch Nails frontman Trent Reznor, studio collaborators Atticus Ross and Alan Moulder, and instrumental contributions from Alessandro Cortini, Adrian Belew, and Brian Viglione.
Reznor described the music of Ghosts as "a soundtrack for daydreams", a sentiment echoed by critics, who compared it to the work of Brian Eno and Robert Fripp. The tracks are unnamed, identified only by their track listing and group number, and is an almost entirely instrumental album. Although initially intended to be a five-track EP, the final release consisted of four nine-track EPs, totaling 36 tracks. The album was released under a Creative Commons license (BY-NC-SA) and in a variety of differing packages and price points, including a US$300 "Ultra-Deluxe Limited Edition", without prior announcement. A user-generated "film festival" was also announced, inviting fans to visually interpret the music and post their submissions.
The album received a favorable reception from critics, who complimented its experimental nature and unorthodox release method, although some viewed the former as its weak point. The album reached number 14 in the US, and was nominated for two Grammy Awards (Best Rock Instrumental Performance and Best Box Set or Limited Edition Package) representing the first time music released under a Creative Commons license had been nominated for a Grammy Award.
Output: What was the full name of the album that was compared to the works of Brian Eno and Robert Fripp?
Passage: Ghosts I–IV is the sixth studio album by American industrial rock band Nine Inch Nails, released on March 2, 2008 by The Null Corporation. It was the band's first independent release, following their split from longtime label Interscope Records the prior year. The album's production team included Nine Inch Nails frontman Trent Reznor, studio collaborators Atticus Ross and Alan Moulder, and instrumental contributions from Alessandro Cortini, Adrian Belew, and Brian Viglione.
Reznor described the music of Ghosts as "a soundtrack for daydreams", a sentiment echoed by critics, who compared it to the work of Brian Eno and Robert Fripp. The tracks are unnamed, identified only by their track listing and group number, and is an almost entirely instrumental album. Although initially intended to be a five-track EP, the final release consisted of four nine-track EPs, totaling 36 tracks. The album was released under a Creative Commons license (BY-NC-SA) and in a variety of differing packages and price points, including a US$300 "Ultra-Deluxe Limited Edition", without prior announcement. A user-generated "film festival" was also announced, inviting fans to visually interpret the music and post their submissions.
The album received a favorable reception from critics, who complimented its experimental nature and unorthodox release method, although some viewed the former as its weak point. The album reached number 14 in the US, and was nominated for two Grammy Awards (Best Rock Instrumental Performance and Best Box Set or Limited Edition Package) representing the first time music released under a Creative Commons license had been nominated for a Grammy Award.
Output: What specific catorgories was Ghosts I-IV nominated for?
Passage: The rectangular narthex constitutes the middle part of the building, between the atrium and the cella, and serves as the lobby of the church. It lies directly east of the atrium, through a wide gate flanked by a couple of high circular turrets. Mavrodinov likens the narthex of the Round Church to similar structures in the churches of Mount Athos, because of its depth.Together with the north and south wall, the entrance of the narthex effectively isolates two smaller parts of the atrium, similar in plan and accessible through doors. The north part includes a small necropolis, while the south part was probably a baptistery, as it features a square installation with a clay pipe that resembles a baptismal font. However, Nikolova considers its shape much too unusual and its depth unsuitable for baptism, and believes it may instead have been designed as a vessel for dispensing holy water.Measuring 5 m × 9.50 m (16.4 ft × 31.2 ft), the narthex is the part of the Round Church which has survived in best shape, as some of its walls reach 3 m (9.8 ft). Its two turrets have a diameter of 3.20 m (10.5 ft); each has an entrance facing the interior of the narthex and three windows. The higher reaches of the towers were reached via spiral stairways, archaeological remains of which have been unearthed in the north turret. There are two pairs of columns inside the narthex, supporting its second floor, which is accessible from the north tower. The columns divide the narthex into three naves and mark the way from the narthex entrance to the gates of the rotunda.
Output: What part of the church did Nikolova consider unsuitable for the baptism?
Passage: The rectangular narthex constitutes the middle part of the building, between the atrium and the cella, and serves as the lobby of the church. It lies directly east of the atrium, through a wide gate flanked by a couple of high circular turrets. Mavrodinov likens the narthex of the Round Church to similar structures in the churches of Mount Athos, because of its depth.Together with the north and south wall, the entrance of the narthex effectively isolates two smaller parts of the atrium, similar in plan and accessible through doors. The north part includes a small necropolis, while the south part was probably a baptistery, as it features a square installation with a clay pipe that resembles a baptismal font. However, Nikolova considers its shape much too unusual and its depth unsuitable for baptism, and believes it may instead have been designed as a vessel for dispensing holy water.Measuring 5 m × 9.50 m (16.4 ft × 31.2 ft), the narthex is the part of the Round Church which has survived in best shape, as some of its walls reach 3 m (9.8 ft). Its two turrets have a diameter of 3.20 m (10.5 ft); each has an entrance facing the interior of the narthex and three windows. The higher reaches of the towers were reached via spiral stairways, archaeological remains of which have been unearthed in the north turret. There are two pairs of columns inside the narthex, supporting its second floor, which is accessible from the north tower. The columns divide the narthex into three naves and mark the way from the narthex entrance to the gates of the rotunda.
Output: What part of the church are there two columns?
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society. 
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters. 
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.
Output: What is the full name of Jane's accuser?
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society. 
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters. 
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.
Output: What is the full name of the brother that is not to be bothered?
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society. 
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters. 
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.
Output: What is the full name of the person that helped Jane con a wealthy gentleman?
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society. 
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters. 
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.
Output: What is the false nickname of the woman who makes a business arrangement with Nigel?
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society. 
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters. 
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.
Output: What is the first name of Nigel's partner that travels to San Francisco with him?
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society. 
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters. 
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.
Output: What is the first name of Nigel's partner who is also planning to steal Mrs. Wortin's necklace?
Passage: Jane Hoskins has worked most of her life as a lady's maid, and is currently employed by Lord Minden and his haughty wife Lady Sybil Minden. Lord Minden's younger twin brother, The Honourable Nigel Duxbury received only ten thousand pounds to his brother's five million because his brother was born five minutes before him and is therefore seen as being the elder sibling in the eyes of the law. Having squandered his money, Nigel sneaks into his brother's home and steals Lady Minden's earrings. Lady Minden accuses her maid Jane of the theft until Nigel steps forward and claims responsibility. Jane is angry at being wrongly accused of theft by her employer and decides to quit her job and make her way into high society. 
Nigel is impressed by Jane's attitude and, after securing the earrings in return for never bothering his brother again, he offers to take Jane out for an evening of fine dining. Together they unintentionally con a wealthy gentleman into believing that Jane is a wealthy widow, the Lady Lovely, and that she collects donations for a fictional Egyptian charity called The Nile Fund. At the end of the night, one hundred pounds wealthier, Jane makes a business arrangement with Nigel that the two of them should work together as confidence tricksters. 
Jane and Nigel travel to Monte Carlo, San Remo and Shanghai, where they cheat at gambling and are repeatedly asked by the authorities to leave the country. Eventually they make their way to San Francisco, where Nigel suggests they move into jewellery theft. Nigel gets himself a job as a butler named Hoskins in the house of society queen Julia Wortin, and Jane befriends Mrs Wortin and is invited to the house as a guest. The two plan to lift Julia's diamond necklace during their stay.
Output: What is the first name of the person that accuses the lady maid of theft before the brother steps forward?
Passage: The neck guard, flared outward to protect the shoulders, is covered with a decorative plate consisting of three horizontal designs. At the top, over the base of the skull, a large torus of ivy leaves is bordered by cords; the ivy is gilded, though the cords are not. In the middle, a smooth and concave transitional zone corresponds to the hollow of the neck. At the bottom, an acanthus rinceau, or scroll, is interspersed with birds and butterflies. Portions of the bottom ornamentation are gilded, giving the helmet, with all its silver, gold, and iron components, a polychrome appearance. The ear guards encroach slightly on the bottom design, suggesting that it was not created specifically for the helmet.The face mask is made of iron, and covered with a sheet of silver. The central hinge from which it hangs is made of three parts: an iron tube welded to the interior head piece with an exterior silver tube, a notched silver tube fixed to the face mask that envelops the first part, and a pin which passes through both and has a silver knob at each end. The mask is shaped in the form of a human face. Holes are drilled between the lips and as nostrils; the eyes each have a narrow slit, with three holes in a trefoil design, two round holes outside and a heart-shaped hole in the middle, underneath each eye to allow for a greater range of vision. These apparently were not enough, for a small and rudimentary notch was carved into each of the heart-shaped holes to increase the wearer's vision. The mask is approximately 2 millimetres thick, of which the silver, which is folded around both the edges and each hole to hold it to the iron, accounts for between .25 and .5 millimetres.Distinctive features cover the face mask. The nose is long and fleshy with a prominent bump, and extends high between the eyes. The cheekbones are low yet prominent, and the small mouth, which droops toward the sinister side, shows a thick lower lip. Other features—the eyes and eyebrows, and the chin—are more conventional. The distinctive features suggest that the maker of the Emesa helmet attempted to translate some of the individual characteristics of the wearer's face into the helmet.
Output: What is the name of the helmet given a polychrome appearance by portions of the gilded bottom ornamentation as well as all its silver, gold, and iron components?
Passage: The neck guard, flared outward to protect the shoulders, is covered with a decorative plate consisting of three horizontal designs. At the top, over the base of the skull, a large torus of ivy leaves is bordered by cords; the ivy is gilded, though the cords are not. In the middle, a smooth and concave transitional zone corresponds to the hollow of the neck. At the bottom, an acanthus rinceau, or scroll, is interspersed with birds and butterflies. Portions of the bottom ornamentation are gilded, giving the helmet, with all its silver, gold, and iron components, a polychrome appearance. The ear guards encroach slightly on the bottom design, suggesting that it was not created specifically for the helmet.The face mask is made of iron, and covered with a sheet of silver. The central hinge from which it hangs is made of three parts: an iron tube welded to the interior head piece with an exterior silver tube, a notched silver tube fixed to the face mask that envelops the first part, and a pin which passes through both and has a silver knob at each end. The mask is shaped in the form of a human face. Holes are drilled between the lips and as nostrils; the eyes each have a narrow slit, with three holes in a trefoil design, two round holes outside and a heart-shaped hole in the middle, underneath each eye to allow for a greater range of vision. These apparently were not enough, for a small and rudimentary notch was carved into each of the heart-shaped holes to increase the wearer's vision. The mask is approximately 2 millimetres thick, of which the silver, which is folded around both the edges and each hole to hold it to the iron, accounts for between .25 and .5 millimetres.Distinctive features cover the face mask. The nose is long and fleshy with a prominent bump, and extends high between the eyes. The cheekbones are low yet prominent, and the small mouth, which droops toward the sinister side, shows a thick lower lip. Other features—the eyes and eyebrows, and the chin—are more conventional. The distinctive features suggest that the maker of the Emesa helmet attempted to translate some of the individual characteristics of the wearer's face into the helmet.
Output: What is the name of the helmet whose ear guards encroach slightly on the bottom design, suggesting that they were not specifically created for it?