niryuu/sni-each-converted huggingface dataset:
Passage: Puss in Boots is a talking cat named for his signature pair of boots. Puss is a fugitive on the run from the law, looking to restore his lost honor. He learns that the outlaw couple Jack and Jill have the magic beans he has been looking for most of his life, which can lead him to a giant's castle holding valuable golden goose eggs. When Puss tries to steal them from the outlaws' room, a female cat named Kitty Softpaws interrupts, and both fail. Kitty is allied with Humpty Alexander Dumpty, a talking egg and Puss' long-estranged childhood friend from the orphanage where he was raised. Puss tells Kitty his origin story and of his feelings of betrayal for a youthful misadventure when Humpty tricked Puss into helping commit a bank robbery in his hometown of San Ricardo; Puss has been on the run ever since. Humpty eventually convinces Puss to join them in finding the beans and retrieving the golden eggs.
The trio steal the beans from Jack and Jill and plant them in the desert. Puss and Kitty's relationship becomes romantic. The trio ride the beanstalk into the clouds to find the castle of the late giant, while avoiding the Great Terror, a giant goose that guards the Golden Goose. When they realize the golden eggs are too heavy to carry, they steal the Goose, which is just a gosling, and escape the castle. While celebrating their victory, the group is ambushed by Jack and Jill, who knock Puss unconscious.
When Puss wakes up, he tracks Jack and Jill to San Ricardo where he learns the entire heist was a plot by Humpty to lure him home to be arrested, as revenge for abandoning him to the authorities when Humpty's youthful heist went bad. Jack, Jill, and Kitty were involved in the con. After pleas from Imelda, his adoptive mother, Puss turns himself in to the guards while Humpty donates many golden eggs to the town and becomes a hero.
Output: Which character was stolen from the castle?
Passage: Puss in Boots is a talking cat named for his signature pair of boots. Puss is a fugitive on the run from the law, looking to restore his lost honor. He learns that the outlaw couple Jack and Jill have the magic beans he has been looking for most of his life, which can lead him to a giant's castle holding valuable golden goose eggs. When Puss tries to steal them from the outlaws' room, a female cat named Kitty Softpaws interrupts, and both fail. Kitty is allied with Humpty Alexander Dumpty, a talking egg and Puss' long-estranged childhood friend from the orphanage where he was raised. Puss tells Kitty his origin story and of his feelings of betrayal for a youthful misadventure when Humpty tricked Puss into helping commit a bank robbery in his hometown of San Ricardo; Puss has been on the run ever since. Humpty eventually convinces Puss to join them in finding the beans and retrieving the golden eggs.
The trio steal the beans from Jack and Jill and plant them in the desert. Puss and Kitty's relationship becomes romantic. The trio ride the beanstalk into the clouds to find the castle of the late giant, while avoiding the Great Terror, a giant goose that guards the Golden Goose. When they realize the golden eggs are too heavy to carry, they steal the Goose, which is just a gosling, and escape the castle. While celebrating their victory, the group is ambushed by Jack and Jill, who knock Puss unconscious.
When Puss wakes up, he tracks Jack and Jill to San Ricardo where he learns the entire heist was a plot by Humpty to lure him home to be arrested, as revenge for abandoning him to the authorities when Humpty's youthful heist went bad. Jack, Jill, and Kitty were involved in the con. After pleas from Imelda, his adoptive mother, Puss turns himself in to the guards while Humpty donates many golden eggs to the town and becomes a hero.
Output: Who knocks Puss in Boots unconscious?
Passage: Puss in Boots is a talking cat named for his signature pair of boots. Puss is a fugitive on the run from the law, looking to restore his lost honor. He learns that the outlaw couple Jack and Jill have the magic beans he has been looking for most of his life, which can lead him to a giant's castle holding valuable golden goose eggs. When Puss tries to steal them from the outlaws' room, a female cat named Kitty Softpaws interrupts, and both fail. Kitty is allied with Humpty Alexander Dumpty, a talking egg and Puss' long-estranged childhood friend from the orphanage where he was raised. Puss tells Kitty his origin story and of his feelings of betrayal for a youthful misadventure when Humpty tricked Puss into helping commit a bank robbery in his hometown of San Ricardo; Puss has been on the run ever since. Humpty eventually convinces Puss to join them in finding the beans and retrieving the golden eggs.
The trio steal the beans from Jack and Jill and plant them in the desert. Puss and Kitty's relationship becomes romantic. The trio ride the beanstalk into the clouds to find the castle of the late giant, while avoiding the Great Terror, a giant goose that guards the Golden Goose. When they realize the golden eggs are too heavy to carry, they steal the Goose, which is just a gosling, and escape the castle. While celebrating their victory, the group is ambushed by Jack and Jill, who knock Puss unconscious.
When Puss wakes up, he tracks Jack and Jill to San Ricardo where he learns the entire heist was a plot by Humpty to lure him home to be arrested, as revenge for abandoning him to the authorities when Humpty's youthful heist went bad. Jack, Jill, and Kitty were involved in the con. After pleas from Imelda, his adoptive mother, Puss turns himself in to the guards while Humpty donates many golden eggs to the town and becomes a hero.
Output: What's the full name of the ally of the thief that Puss gets romantic with?
Passage: Puss in Boots is a talking cat named for his signature pair of boots. Puss is a fugitive on the run from the law, looking to restore his lost honor. He learns that the outlaw couple Jack and Jill have the magic beans he has been looking for most of his life, which can lead him to a giant's castle holding valuable golden goose eggs. When Puss tries to steal them from the outlaws' room, a female cat named Kitty Softpaws interrupts, and both fail. Kitty is allied with Humpty Alexander Dumpty, a talking egg and Puss' long-estranged childhood friend from the orphanage where he was raised. Puss tells Kitty his origin story and of his feelings of betrayal for a youthful misadventure when Humpty tricked Puss into helping commit a bank robbery in his hometown of San Ricardo; Puss has been on the run ever since. Humpty eventually convinces Puss to join them in finding the beans and retrieving the golden eggs.
The trio steal the beans from Jack and Jill and plant them in the desert. Puss and Kitty's relationship becomes romantic. The trio ride the beanstalk into the clouds to find the castle of the late giant, while avoiding the Great Terror, a giant goose that guards the Golden Goose. When they realize the golden eggs are too heavy to carry, they steal the Goose, which is just a gosling, and escape the castle. While celebrating their victory, the group is ambushed by Jack and Jill, who knock Puss unconscious.
When Puss wakes up, he tracks Jack and Jill to San Ricardo where he learns the entire heist was a plot by Humpty to lure him home to be arrested, as revenge for abandoning him to the authorities when Humpty's youthful heist went bad. Jack, Jill, and Kitty were involved in the con. After pleas from Imelda, his adoptive mother, Puss turns himself in to the guards while Humpty donates many golden eggs to the town and becomes a hero.
Output: Where do many of the goose eggs get donated to?
Passage: Mountains dominate central and western Rwanda. They are part of the Albertine Rift Mountains that flank the Albertine branch of the East African Rift, which runs from north to south along Rwanda's western border. The highest peaks are found in the Virunga volcano chain in the northwest; this includes Mount Karisimbi, Rwanda's highest point, at 4,507 metres (14,787 ft). This western section of the country lies within the Albertine Rift montane forests ecoregion. It has an elevation of 1,500 to 2,500 metres (4,921 to 8,202 ft). The centre of the country is predominantly rolling hills, while the eastern border region consists of savanna, plains and swamps.Rwanda has a temperate tropical highland climate, with lower temperatures than are typical for equatorial countries because of its high elevation. Kigali, in the centre of the country, has a typical daily temperature range between 12 and 27 °C (54 and 81 °F), with little variation through the year. There are some temperature variations across the country; the mountainous west and north are generally cooler than the lower-lying east. There are two rainy seasons in the year; the first runs from February to June and the second from September to December. These are separated by two dry seasons: the major one from June to September, during which there is often no rain at all, and a shorter and less severe one from December to February. Rainfall varies geographically, with the west and northwest of the country receiving more precipitation annually than the east and southeast. Global warming has caused a change in the pattern of the rainy seasons. According to a report by the Strategic Foresight Group, change in climate has reduced the number of rainy days experienced during a year, but has also caused an increase in frequency of torrential rains. Both changes have caused difficulty for farmers, decreasing their productivity. Strategic Foresight also characterise Rwanda as a fast warming country, with an increase in average temperature of between 0.7 °C to 0.9 °C over fifty years.
Output: What is the name of the country in which the center is predominantly rolling hills while the eastern border region consists of savanna, plains and swamps?
Passage: Mountains dominate central and western Rwanda. They are part of the Albertine Rift Mountains that flank the Albertine branch of the East African Rift, which runs from north to south along Rwanda's western border. The highest peaks are found in the Virunga volcano chain in the northwest; this includes Mount Karisimbi, Rwanda's highest point, at 4,507 metres (14,787 ft). This western section of the country lies within the Albertine Rift montane forests ecoregion. It has an elevation of 1,500 to 2,500 metres (4,921 to 8,202 ft). The centre of the country is predominantly rolling hills, while the eastern border region consists of savanna, plains and swamps.Rwanda has a temperate tropical highland climate, with lower temperatures than are typical for equatorial countries because of its high elevation. Kigali, in the centre of the country, has a typical daily temperature range between 12 and 27 °C (54 and 81 °F), with little variation through the year. There are some temperature variations across the country; the mountainous west and north are generally cooler than the lower-lying east. There are two rainy seasons in the year; the first runs from February to June and the second from September to December. These are separated by two dry seasons: the major one from June to September, during which there is often no rain at all, and a shorter and less severe one from December to February. Rainfall varies geographically, with the west and northwest of the country receiving more precipitation annually than the east and southeast. Global warming has caused a change in the pattern of the rainy seasons. According to a report by the Strategic Foresight Group, change in climate has reduced the number of rainy days experienced during a year, but has also caused an increase in frequency of torrential rains. Both changes have caused difficulty for farmers, decreasing their productivity. Strategic Foresight also characterise Rwanda as a fast warming country, with an increase in average temperature of between 0.7 °C to 0.9 °C over fifty years.
Output: What is the name of the country in which there are some temperature variations that include the mountainous west and north being generally cooler than the lower-lying east?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What is the last name of the person who married the Italian merchant Michel Burlamacchi?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What are the first names of the people in the couple that Dhanens theorises the piece was commissioned as a wedding gift for?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What is the last name of the person who said "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels?"?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What is the belief that has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What was the first name of the person that historical research has been unable to verify his presence in Bruges around 1437?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What was the last name of the family whose trading house in Paris was named after St. Catherine?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What was the last name of the person who was a tax collector?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What was the last name of the person who married Michele Burlamacchi?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What was the first name of the person Catherine could have given the piece to ask as gift by way of protection on his travels?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What was the first name of the person Michele could have given the piece to as a gift to pledge his affection during his absences?
Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.".
Output: What is the last name of the people whose daughter, also named Catherine, married the Italian merchant Michel Burlamacchi?
Passage: Vessels from neighboring East Asian states such as Silla and Balhae of Korea and the Hizen Province of Japan were all involved in the Yellow Sea trade, which Silla dominated. After Silla and Japan reopened renewed hostilities in the late 7th century, most Japanese maritime merchants chose to set sail from Nagasaki towards the mouth of the Huai River, the Yangzi River, and even as far south as the Hangzhou Bay in order to avoid Korean ships in the Yellow Sea. In order to sail back to Japan in 838, the Japanese embassy to China procured nine ships and sixty Korean sailors from the Korean wards of Chuzhou and Lianshui cities along the Huai River. It is also known that Chinese trade ships traveling to Japan set sail from the various ports along the coasts of Zhejiang and Fujian provinces.The Chinese engaged in large-scale production for overseas export by at least the time of the Tang. This was proven by the discovery of the Belitung shipwreck, a silt-preserved shipwrecked Arabian dhow in the Gaspar Strait near Belitung, which had 63,000 pieces of Tang ceramics, silver, and gold (including a Changsha bowl inscribed with a date: "16th day of the seventh month of the second year of the Baoli reign", or 826, roughly confirmed by radiocarbon dating of star anise at the wreck). Beginning in 785, the Chinese began to call regularly at Sufala on the East African coast in order to cut out Arab middlemen, with various contemporary Chinese sources giving detailed descriptions of trade in Africa. The official and geographer Jia Dan (730–805) wrote of two common sea trade routes in his day: one from the coast of the Bohai Sea towards Korea and another from Guangzhou through Malacca towards the Nicobar Islands, Sri Lanka and India, the eastern and northern shores of the Arabian Sea to the Euphrates River. In 863 the Chinese author Duan Chengshi (d. 863) provided a detailed description of the slave trade, ivory trade, and ambergris trade in a country called Bobali, which historians suggest was Berbera in Somalia. In Fustat (old Cairo), Egypt, the fame of Chinese ceramics there led to an enormous demand for Chinese goods; hence Chinese often traveled there (this continued into later periods such as Fatimid Egypt). From this time period, the Arab merchant Shulama once wrote of his admiration for Chinese seafaring junks, but noted that their draft was too deep for them to enter the Euphrates River, which forced them to ferry passengers and cargo in small boats. Shulama also noted that Chinese ships were often very large, with capacities up to 600–700 passengers.
Output: What was proven by the discovery of the Belitung shipwreck?
Passage: Audioslave was an American rock supergroup formed in Los Angeles in 2001. The four-piece band consisted of Soundgarden lead singer/rhythm guitarist Chris Cornell and Rage Against the Machine members Tom Morello (lead guitar), Tim Commerford (bass/backing vocals), and Brad Wilk (drums). Critics first described Audioslave as a combination of Soundgarden and Rage Against the Machine, but by the band's second album, Out of Exile, it was noted that they had established a separate identity. Audioslave's sound was created by blending 1970s hard rock with 1990s alternative rock. Moreover, Morello incorporated his well-known, unconventional guitar solos into the mix. As with Rage Against the Machine, the band prided themselves on the fact that all sounds on their albums were produced using only guitar, bass, drums, and vocals.
In its six years of existence, Audioslave released three albums, received three Grammy nominations, sold more than eight million records worldwide and became the first American rock band to perform an open-air concert in Cuba. Audioslave disbanded in February 2007 when Cornell issued a statement announcing that he was permanently leaving the band "due to irresolvable personality conflicts as well as musical differences." The 2007 Rage Against the Machine reunion and tour involving the rest of the band, as well as solo albums released that same year by Morello and Cornell, cemented the supergroup's permanent demise. On January 20, 2017, three days after announcing their reunion, Audioslave performed together for the first time in over a decade at Prophets of Rage's Anti-Inaugural Ball. In the early hours of May 18, 2017, Chris Cornell was found dead in his hotel room in Detroit, at the age of 52, after playing a Soundgarden show.
Output: What are the full names of the four members of Audioslave?
Passage: Audioslave was an American rock supergroup formed in Los Angeles in 2001. The four-piece band consisted of Soundgarden lead singer/rhythm guitarist Chris Cornell and Rage Against the Machine members Tom Morello (lead guitar), Tim Commerford (bass/backing vocals), and Brad Wilk (drums). Critics first described Audioslave as a combination of Soundgarden and Rage Against the Machine, but by the band's second album, Out of Exile, it was noted that they had established a separate identity. Audioslave's sound was created by blending 1970s hard rock with 1990s alternative rock. Moreover, Morello incorporated his well-known, unconventional guitar solos into the mix. As with Rage Against the Machine, the band prided themselves on the fact that all sounds on their albums were produced using only guitar, bass, drums, and vocals.
In its six years of existence, Audioslave released three albums, received three Grammy nominations, sold more than eight million records worldwide and became the first American rock band to perform an open-air concert in Cuba. Audioslave disbanded in February 2007 when Cornell issued a statement announcing that he was permanently leaving the band "due to irresolvable personality conflicts as well as musical differences." The 2007 Rage Against the Machine reunion and tour involving the rest of the band, as well as solo albums released that same year by Morello and Cornell, cemented the supergroup's permanent demise. On January 20, 2017, three days after announcing their reunion, Audioslave performed together for the first time in over a decade at Prophets of Rage's Anti-Inaugural Ball. In the early hours of May 18, 2017, Chris Cornell was found dead in his hotel room in Detroit, at the age of 52, after playing a Soundgarden show.
Output: What was the last name of the person who played lead guitar for Audioslave?
Passage: Audioslave was an American rock supergroup formed in Los Angeles in 2001. The four-piece band consisted of Soundgarden lead singer/rhythm guitarist Chris Cornell and Rage Against the Machine members Tom Morello (lead guitar), Tim Commerford (bass/backing vocals), and Brad Wilk (drums). Critics first described Audioslave as a combination of Soundgarden and Rage Against the Machine, but by the band's second album, Out of Exile, it was noted that they had established a separate identity. Audioslave's sound was created by blending 1970s hard rock with 1990s alternative rock. Moreover, Morello incorporated his well-known, unconventional guitar solos into the mix. As with Rage Against the Machine, the band prided themselves on the fact that all sounds on their albums were produced using only guitar, bass, drums, and vocals.
In its six years of existence, Audioslave released three albums, received three Grammy nominations, sold more than eight million records worldwide and became the first American rock band to perform an open-air concert in Cuba. Audioslave disbanded in February 2007 when Cornell issued a statement announcing that he was permanently leaving the band "due to irresolvable personality conflicts as well as musical differences." The 2007 Rage Against the Machine reunion and tour involving the rest of the band, as well as solo albums released that same year by Morello and Cornell, cemented the supergroup's permanent demise. On January 20, 2017, three days after announcing their reunion, Audioslave performed together for the first time in over a decade at Prophets of Rage's Anti-Inaugural Ball. In the early hours of May 18, 2017, Chris Cornell was found dead in his hotel room in Detroit, at the age of 52, after playing a Soundgarden show.
Output: What were the two types of rock that created Audioslave's sound?