niryuu/sni-each-converted huggingface dataset:
Passage: To promote No Line on the Horizon, U2 performed "Get on Your Boots" at the 51st Grammy Awards, the 2009 BRIT Awards, and the 2009 Echo Awards, although the album was not eligible for awards at any of the ceremonies. The band later appeared on French television and radio on 23 February 2009, and on 26 February they taped a segment for Friday Night with Jonathan Ross, which was aired the next day. On 27 February, U2 made an appearance on a Live Lounge session for BBC Radio 1, followed by a mini-concert on the roof of Broadcasting House. On the week of 2 March 2009, U2 appeared on CBS-TV's Late Show with David Letterman for five consecutive nights, the first time a musical guest had performed for an entire week on the show. The group performed "Breathe", "Magnificent", "I'll Go Crazy If I Don't Go Crazy Tonight", "Beautiful Day", and "Get on Your Boots". On 3 March, Michael Bloomberg, Mayor of New York City, added a street sign reading "U2 Way" at 53rd Street in Manhattan, for the week that U2 performed on the Late Show. U2 also performed at Fordham University on 6 March 2009 for an appearance on ABC-TV's Good Morning America. From 9 to 11 March, the band participated in "U2 3 Nights Live", a series of radio interviews and performances that were broadcast across North America and streamed live on U2.com.From 11 to 17 February 2009, U2.com hosted a promotion where 4,000 fans could win a 7-inch single collector's edition box set that contained all four of the singles released from No Line on the Horizon. An alternate version of the title track, "No Line on the Horizon 2", debuted on RTÉ 2XM on 12 February 2009; it was later used as the B-side for the first single, "Get on Your Boots". The full album began streaming on the group's MySpace page on 20 February 2009, and on U2.com a few days later.Four singles were planned from the album, although only three were released. The first single, "Get on Your Boots", was released as a digital download on 19 January 2009, and in a physical format on 16 February 2009. The iTunes store held the exclusive digital download rights to the single for the first 24 hours. The second single, "Magnificent", was released on 4 May 2009. The third single, "I'll Go Crazy If I Don't Go Crazy Tonight", was released on 7 September 2009.
Output: What was later used as the B-side for the first single?
Passage: Three years after their final competition, the Bellas have graduated from Barden University, but all hate their jobs, and to make matters worse, Beca and Jesse's relationship is doomed, as is Fat Amy and Bumper's relationship. Beca, Fat Amy, Chloe, Aubrey, Lilly, Stacie, Cynthia Rose, Florencia, Jessica, and Ashley are thrilled when Emily, now a senior and leader of the current Barden Bellas, asks them to sing at an event. Arriving  at the reunion, they learn that Emily simply invited them to see the new Bellas.
They later gather at a bar in disappointment, but express how much they miss each other. Aubrey convinces them to join a USO tour, near her Army officer father. Emily fills in for Stacie, who is eight months pregnant. The Bellas land at a base in Spain, greeted by their liaisons, soldiers Chicago and Zeke. They also meet the other three bands, including the mean-spirited female quartet Evermoist. The others use musical instruments, helping them defeat the Bellas in a riff-off.
Chloe begins to fall for Chicago. Fat Amy learns that Fergus, her estranged father and ruthless international crime lord, is staying in their hotel. The Bellas are invited to a party at DJ Khaled's suite, where Fat Amy is invited to a poker tournament. The tournament was a set up by Fergus, who begs to be in  Amy's life, which she agrees to after seeing he has changed. Beca develops a friendship with DJ Khaled's music producer Theo, who is impressed when she easily produces a mix of her own singing on Khaled's editing equipment. Moments later, the party is thrown into chaos when Aubrey accidentally ignites a fire.
Output: Who was Fergus's daughter in a relationship with?
Passage: Three years after their final competition, the Bellas have graduated from Barden University, but all hate their jobs, and to make matters worse, Beca and Jesse's relationship is doomed, as is Fat Amy and Bumper's relationship. Beca, Fat Amy, Chloe, Aubrey, Lilly, Stacie, Cynthia Rose, Florencia, Jessica, and Ashley are thrilled when Emily, now a senior and leader of the current Barden Bellas, asks them to sing at an event. Arriving  at the reunion, they learn that Emily simply invited them to see the new Bellas.
They later gather at a bar in disappointment, but express how much they miss each other. Aubrey convinces them to join a USO tour, near her Army officer father. Emily fills in for Stacie, who is eight months pregnant. The Bellas land at a base in Spain, greeted by their liaisons, soldiers Chicago and Zeke. They also meet the other three bands, including the mean-spirited female quartet Evermoist. The others use musical instruments, helping them defeat the Bellas in a riff-off.
Chloe begins to fall for Chicago. Fat Amy learns that Fergus, her estranged father and ruthless international crime lord, is staying in their hotel. The Bellas are invited to a party at DJ Khaled's suite, where Fat Amy is invited to a poker tournament. The tournament was a set up by Fergus, who begs to be in  Amy's life, which she agrees to after seeing he has changed. Beca develops a friendship with DJ Khaled's music producer Theo, who is impressed when she easily produces a mix of her own singing on Khaled's editing equipment. Moments later, the party is thrown into chaos when Aubrey accidentally ignites a fire.
Output: What is the name of the person that Jesse's girlfriend becomes friends with?
Passage: The island of Galveston, which lies on the Gulf of Mexico, held one of the first major settlements in the eastern part of what is now Texas. During the mid-to-late-19th century, it became the largest city in the state. Galveston was also an important national commercial center and one of the busiest seaports in the United States, as the Port of Galveston was able to capitalize on Texas' rapid rise in the cotton trade. Its downtown was known as the "Wall Street of the Southwest" and by 1900 the city had one of the highest per capita incomes in the U.S. Though nearby Houston was emerging as an important city in its own right, Galveston was the state's cultural and economic center at the time. Vices such as prostitution and gambling, which were common throughout Texas during the 19th century, continued to be tolerated to various degrees on the island in the early 20th century.The 1900 Galveston hurricane was an unparalleled disaster. Estimates of the death toll range from 6,000 to 12,000 people, in addition to many more on the Gulf Coast and along the shores of the bay. Immediately after the hurricane, Galveston worked to revive itself as a port and an entertainment center, including the construction of tourist destinations such as the Hotel Galvez, which opened in 1911. In the same year, the Galveston–Houston Electric Railway opened and became recognized as the fastest interurban rail system in the country. Galveston's port was also rebuilt quickly, and by 1912 had become the second-leading exporter in the nation, behind New York. Nevertheless, after the 1900 storm and another in 1915, many avoided investing in the island.
Output: What city had one of the highest per capita incomes in the U.S?
Passage: The island of Galveston, which lies on the Gulf of Mexico, held one of the first major settlements in the eastern part of what is now Texas. During the mid-to-late-19th century, it became the largest city in the state. Galveston was also an important national commercial center and one of the busiest seaports in the United States, as the Port of Galveston was able to capitalize on Texas' rapid rise in the cotton trade. Its downtown was known as the "Wall Street of the Southwest" and by 1900 the city had one of the highest per capita incomes in the U.S. Though nearby Houston was emerging as an important city in its own right, Galveston was the state's cultural and economic center at the time. Vices such as prostitution and gambling, which were common throughout Texas during the 19th century, continued to be tolerated to various degrees on the island in the early 20th century.The 1900 Galveston hurricane was an unparalleled disaster. Estimates of the death toll range from 6,000 to 12,000 people, in addition to many more on the Gulf Coast and along the shores of the bay. Immediately after the hurricane, Galveston worked to revive itself as a port and an entertainment center, including the construction of tourist destinations such as the Hotel Galvez, which opened in 1911. In the same year, the Galveston–Houston Electric Railway opened and became recognized as the fastest interurban rail system in the country. Galveston's port was also rebuilt quickly, and by 1912 had become the second-leading exporter in the nation, behind New York. Nevertheless, after the 1900 storm and another in 1915, many avoided investing in the island.
Output: In what city did 6,000 to 12,000 people die?
Passage: A young woman named Arletty drives to the beach town of Point Dume, California, to visit her estranged father, an artist. She finds his beachfront house, abandoned. He left a diary in which he addresses her specifically. In it he complains about darkness consuming the town, and horrible nightmares he is having, and implores Arletty to never, ever look for him. His letter tells her to talk to the owner of the art gallery, who sells his paintings. The gallery owner says he has none of her father's paintings, does not sell them, no one ever comes in looking to buy his works, and says he doesn't know where he went. He says Point Dune is "an artist colony" and he only vaguely remembers her father (his paintings are eerie pop art portraits of groups of people in black, white, and gray, standing; the men are always dressed in black suits, white shirts, and black ties, like dead men at a funeral). It is never clear if these are townspeople, or figures from his visions, or both.
Arletty meets a visiting Portuguese-American aristocrat Thom and his two extremely provocative, groupie-like female companions, Toni and Laura. Back at his motel, Thom interviews Charlie, (Elisha Cook, Jr.) the local town eccentric. Charlie speaks at length about "the blood moon" and "the dark stranger" and how he has lived through both. He says very soon it will be the 100 year anniversary of the first appearance of the "dark stranger." He will return, the moon will turn red, and the town will be overrun with evil. Charlie warns Arletty about her father, he says he is "one of them" now. Moments later he is murdered off screen.
Output: Who does the man that gets murdered off screen warn about the artist?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the person who had a jewel-studded crown?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the person who in enveloped by the throne room?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the person whose monumental stature reflects a tradition reaching back to an Italo-Byzantine type?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the person whose size represents her embodiment as the church ?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the person whose scale is attributed as the mistake of a relatively immature painter?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the person who probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the name of the Canon who is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the full name of the person who had the Virgin and Child with two saints appear before him?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the subject whose jewel-studded crown makes her representation as Queen of Heaven apparent?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the subject enveloped by a "throne room" as if it were a "carrying case"?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the subject whose monumental stature reflects a tradition reaching back to an Italo-Byzantine type?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the subject whose identification with the cathedral itself is emphasized by her monumental stature?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What is the first name of the subject whose scale was attributed as the mistake of a relatively immature painter by art historians in the 19th century?
Passage: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pächt describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type – perhaps best known through Giotto's Ognissanti Madonna (c. 1310) – and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 1434–36, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling in prayer in the now lost opposite panel. The idea of a saint appearing before laity was common in Northern art of the period, and is also represented in van Eyck's Virgin and Child with Canon van der Paele (1434–36). There, the Canon is portrayed as if having just momentarily paused to reflect on a passage from his hand-held bible as the Virgin and Child with two saints appear before him, as if embodiments of his prayer.
Output: What are the specific names of the two separate works by van Eyck that show interiors seemingly too small to contain the figures?