niryuu/sni-each-converted huggingface dataset:
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who was often harshly self-critical during the period of his early works?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who abandoned the Crucifixion theme?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is last name of the person who returned to the topic of the Crucifixion eleven years after abandoning it?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the spatial device Bacon continued to incorporate and used many times throughout his career?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the title of the 1944 painting executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London?
Passage: Martin Luther King Jr.'s presence in Birmingham was not welcomed by all in the black community.  A local black attorney complained in Time that the new city administration did not have enough time to confer with the various groups invested in changing the city's segregation policies. Black hotel owner A. G. Gaston agreed. A white Jesuit priest assisting in desegregation negotiations attested the "demonstrations [were] poorly timed and misdirected".Protest organizers knew they would meet with violence from the Birmingham Police Department and chose a confrontational approach to get the attention of the federal government. Wyatt Tee Walker, one of the SCLC founders and the executive director from 1960 to 1964, planned the tactics of the direct action protests, specifically targeting Bull Connor's tendency to react to demonstrations with violence: "My theory was that if we mounted a strong nonviolent movement, the opposition would surely do something to attract the media, and in turn induce national sympathy and attention to the everyday segregated circumstance of a person living in the Deep South." He headed the planning of what he called Project C, which stood for "confrontation". Organizers believed their phones were tapped, so to prevent their plans from being leaked and perhaps influencing the mayoral election, they used code words for demonstrations.The plan called for direct nonviolent action to attract media attention to "the biggest and baddest city of the South". In preparation for the protests, Walker timed the walking distance from the 16th Street Baptist Church, headquarters for the campaign, to the downtown area. He surveyed the segregated lunch counters of department stores, and listed federal buildings as secondary targets should police block the protesters' entrance into primary targets such as stores, libraries, and all-white churches.
Output: Who made poorly timed desegregation negotiations?
Passage: Martin Luther King Jr.'s presence in Birmingham was not welcomed by all in the black community.  A local black attorney complained in Time that the new city administration did not have enough time to confer with the various groups invested in changing the city's segregation policies. Black hotel owner A. G. Gaston agreed. A white Jesuit priest assisting in desegregation negotiations attested the "demonstrations [were] poorly timed and misdirected".Protest organizers knew they would meet with violence from the Birmingham Police Department and chose a confrontational approach to get the attention of the federal government. Wyatt Tee Walker, one of the SCLC founders and the executive director from 1960 to 1964, planned the tactics of the direct action protests, specifically targeting Bull Connor's tendency to react to demonstrations with violence: "My theory was that if we mounted a strong nonviolent movement, the opposition would surely do something to attract the media, and in turn induce national sympathy and attention to the everyday segregated circumstance of a person living in the Deep South." He headed the planning of what he called Project C, which stood for "confrontation". Organizers believed their phones were tapped, so to prevent their plans from being leaked and perhaps influencing the mayoral election, they used code words for demonstrations.The plan called for direct nonviolent action to attract media attention to "the biggest and baddest city of the South". In preparation for the protests, Walker timed the walking distance from the 16th Street Baptist Church, headquarters for the campaign, to the downtown area. He surveyed the segregated lunch counters of department stores, and listed federal buildings as secondary targets should police block the protesters' entrance into primary targets such as stores, libraries, and all-white churches.
Output: Who did A.G. Gaston agree with?
Passage: Martin Luther King Jr.'s presence in Birmingham was not welcomed by all in the black community.  A local black attorney complained in Time that the new city administration did not have enough time to confer with the various groups invested in changing the city's segregation policies. Black hotel owner A. G. Gaston agreed. A white Jesuit priest assisting in desegregation negotiations attested the "demonstrations [were] poorly timed and misdirected".Protest organizers knew they would meet with violence from the Birmingham Police Department and chose a confrontational approach to get the attention of the federal government. Wyatt Tee Walker, one of the SCLC founders and the executive director from 1960 to 1964, planned the tactics of the direct action protests, specifically targeting Bull Connor's tendency to react to demonstrations with violence: "My theory was that if we mounted a strong nonviolent movement, the opposition would surely do something to attract the media, and in turn induce national sympathy and attention to the everyday segregated circumstance of a person living in the Deep South." He headed the planning of what he called Project C, which stood for "confrontation". Organizers believed their phones were tapped, so to prevent their plans from being leaked and perhaps influencing the mayoral election, they used code words for demonstrations.The plan called for direct nonviolent action to attract media attention to "the biggest and baddest city of the South". In preparation for the protests, Walker timed the walking distance from the 16th Street Baptist Church, headquarters for the campaign, to the downtown area. He surveyed the segregated lunch counters of department stores, and listed federal buildings as secondary targets should police block the protesters' entrance into primary targets such as stores, libraries, and all-white churches.
Output: What is the last name of the person who headed the planning of Project C?
Passage: Martin Luther King Jr.'s presence in Birmingham was not welcomed by all in the black community.  A local black attorney complained in Time that the new city administration did not have enough time to confer with the various groups invested in changing the city's segregation policies. Black hotel owner A. G. Gaston agreed. A white Jesuit priest assisting in desegregation negotiations attested the "demonstrations [were] poorly timed and misdirected".Protest organizers knew they would meet with violence from the Birmingham Police Department and chose a confrontational approach to get the attention of the federal government. Wyatt Tee Walker, one of the SCLC founders and the executive director from 1960 to 1964, planned the tactics of the direct action protests, specifically targeting Bull Connor's tendency to react to demonstrations with violence: "My theory was that if we mounted a strong nonviolent movement, the opposition would surely do something to attract the media, and in turn induce national sympathy and attention to the everyday segregated circumstance of a person living in the Deep South." He headed the planning of what he called Project C, which stood for "confrontation". Organizers believed their phones were tapped, so to prevent their plans from being leaked and perhaps influencing the mayoral election, they used code words for demonstrations.The plan called for direct nonviolent action to attract media attention to "the biggest and baddest city of the South". In preparation for the protests, Walker timed the walking distance from the 16th Street Baptist Church, headquarters for the campaign, to the downtown area. He surveyed the segregated lunch counters of department stores, and listed federal buildings as secondary targets should police block the protesters' entrance into primary targets such as stores, libraries, and all-white churches.
Output: What is the last name of the person who surveyed segregated lunch counters?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the last name of the person who served as the founder and Honorary Director of the Institute of Archaeology in London?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the last name of the person whose career included authoring twenty-four books on archaeological subjects?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the last name of the person who worked professionally in archaeology, and specialised in the Romano-British period?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the last name of the person who volunteered for service in the Royal Artillery during World War I?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the last name of the person who rose to the rank of major, while stationed on the Western Front, and was awarded the Military Cross?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the last name of the person who obtained his doctorate from UCL before taking on a position at the National Museum of Wales?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the last name of the person who oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta while serving as Director of the National Museum of Wales?
Passage: Sir Robert Eric Mortimer Wheeler (10 September 1890 – 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects.
Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL.
In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied invasion of Italy. In 1944 he was appointed Director-General of the Archaeological Survey of India, through which he oversaw excavations of sites at Harappa, Arikamedu, and Brahmagiri, and implemented reforms to the subcontinent's archaeological establishment. Returning to Britain in 1948, he divided his time between lecturing for the Institute of Archaeology and acting as archaeological adviser to Pakistan's government. In later life, his popular books, cruise ship lectures, and appearances on radio and television, particularly the BBC series Animal, Vegetable, Mineral?, helped to bring archaeology to a mass audience. Appointed Honorary Secretary of the British Academy, he raised large sums of money for archaeological projects, and was appointed British representative for several UNESCO projects.
Output: What is the full name of the person whose first wife aided in the excavation of the Roman forts of Segontium, Y Gaer, and Isca Augusta?