niryuu/sni-each-converted huggingface dataset:
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What are the full names of the persons who first gave Amazing Grace it's title?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What is the full name of the person whose version of "Amazing Grace" became the standard form of the song in American churches?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What was the first name of the person whose musical gifts were listed as significant?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What is the first name of the person whose preaching was listed as significant?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What are the first names of the people who began publishing their compositions in 1875?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What are the first names of the people who were the first to give Amazing Grace its title?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What is the first name of the person who altered some of Walker's music, making it more contemporary and European?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What is the first name of the person whose version of Amazing Grace was more palatable for a growing urban middle class and arranged for larger church choirs?
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches.
Output: What is the first name of the person who published several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin?
Passage: Most of the film takes place in a pool hall run by Nick. Obsessed by the world of pool, Johnny could be one of the best. But his mentor Joe, a shady stakehorse, trains Johnny as a hustler, and decides how and who Johnny plays. Unbeknownst to Johnny, Joe has been holding him back from his dream: playing in the legitimate pro tour.  When Johnny finally learns that Joe intercepted and threw away an invitation for Johnny to join the pro tour, he breaks from Joe, throwing a game with a large pot.  Losing both that stake money and his hustler income source sparks Joe to violence, and he breaks Johnny's bridge hand outside the pool hall (an homage to a similar scene in the classic pool film The Hustler).  Joe is later beaten up by some of Johnny's friends as a warning to leave him alone.
After an ultimatum from his girlfriend Tara, Johnny largely leaves the world of pool hustling, and finally commits to a "real" job in the construction business, but is soon miserable there. He finds himself spending most of his time with his younger brother Danny, a musician with aspirations of following in Johnny's hustler footsteps, despite Johnny's discouragement of this path.  Johnny meets Tara's wealthy uncle, Mike; he and Johnny hustle some of Mike's business associates, one an executive at Tara's employer. Rather than bet money or on himself, Johnny wagers a high-placed position for Tara, with Mike putting up an expensive car as their side of the stake.  Johnny wins a challenging trick-shot bet (to duplicate a difficult shot Mike had made in the previous game), and the promotion for Tara, but keeps the reason for her new opportunity a secret. (She eventually figures out the reason behind her advancement to such a competitive position, but understands that Johnny was just trying to help her the only way he knew how.).
Output: Whose mentor is a shady stakehorse?
Passage: Most of the film takes place in a pool hall run by Nick. Obsessed by the world of pool, Johnny could be one of the best. But his mentor Joe, a shady stakehorse, trains Johnny as a hustler, and decides how and who Johnny plays. Unbeknownst to Johnny, Joe has been holding him back from his dream: playing in the legitimate pro tour.  When Johnny finally learns that Joe intercepted and threw away an invitation for Johnny to join the pro tour, he breaks from Joe, throwing a game with a large pot.  Losing both that stake money and his hustler income source sparks Joe to violence, and he breaks Johnny's bridge hand outside the pool hall (an homage to a similar scene in the classic pool film The Hustler).  Joe is later beaten up by some of Johnny's friends as a warning to leave him alone.
After an ultimatum from his girlfriend Tara, Johnny largely leaves the world of pool hustling, and finally commits to a "real" job in the construction business, but is soon miserable there. He finds himself spending most of his time with his younger brother Danny, a musician with aspirations of following in Johnny's hustler footsteps, despite Johnny's discouragement of this path.  Johnny meets Tara's wealthy uncle, Mike; he and Johnny hustle some of Mike's business associates, one an executive at Tara's employer. Rather than bet money or on himself, Johnny wagers a high-placed position for Tara, with Mike putting up an expensive car as their side of the stake.  Johnny wins a challenging trick-shot bet (to duplicate a difficult shot Mike had made in the previous game), and the promotion for Tara, but keeps the reason for her new opportunity a secret. (She eventually figures out the reason behind her advancement to such a competitive position, but understands that Johnny was just trying to help her the only way he knew how.).
Output: Who throws a game with a large pot?
Passage: Most of the film takes place in a pool hall run by Nick. Obsessed by the world of pool, Johnny could be one of the best. But his mentor Joe, a shady stakehorse, trains Johnny as a hustler, and decides how and who Johnny plays. Unbeknownst to Johnny, Joe has been holding him back from his dream: playing in the legitimate pro tour.  When Johnny finally learns that Joe intercepted and threw away an invitation for Johnny to join the pro tour, he breaks from Joe, throwing a game with a large pot.  Losing both that stake money and his hustler income source sparks Joe to violence, and he breaks Johnny's bridge hand outside the pool hall (an homage to a similar scene in the classic pool film The Hustler).  Joe is later beaten up by some of Johnny's friends as a warning to leave him alone.
After an ultimatum from his girlfriend Tara, Johnny largely leaves the world of pool hustling, and finally commits to a "real" job in the construction business, but is soon miserable there. He finds himself spending most of his time with his younger brother Danny, a musician with aspirations of following in Johnny's hustler footsteps, despite Johnny's discouragement of this path.  Johnny meets Tara's wealthy uncle, Mike; he and Johnny hustle some of Mike's business associates, one an executive at Tara's employer. Rather than bet money or on himself, Johnny wagers a high-placed position for Tara, with Mike putting up an expensive car as their side of the stake.  Johnny wins a challenging trick-shot bet (to duplicate a difficult shot Mike had made in the previous game), and the promotion for Tara, but keeps the reason for her new opportunity a secret. (She eventually figures out the reason behind her advancement to such a competitive position, but understands that Johnny was just trying to help her the only way he knew how.).
Output: Who finds themselves spending most of the time with their younger brother?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: What is the name of the person that did not like working in a studio full of Frenchmen?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: What is the full name of the man that was hired by the person was disqualified from a competition in 1818 for technically being a professional?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: Who found the atmosphere rowdy?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: Who found the studio too full of Frenchmen?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: Whose two paintings exhibited at the 1817 Summer Exhibition attracted a favorable review in the press?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: Whose work was called "a fine classical invention"?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: Whose work was said to have shown "splendid promise"?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: What was easily the most accomplished entry in the competition?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: Who was complained about by others?
Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.
Output: Whose high quality work further raised his prestige within the academy?