niryuu/sni-each-converted huggingface dataset:
Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles. 
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.
Output: What is the first name of the person whose works echo those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement?
Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles. 
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.
Output: What is the first name of the person whose most notable works include Cardiff Castle and Castell Coch?
Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles. 
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.
Output: What year did the man who was an English architect give a series of lectures title Art Applied to Industry?
Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles. 
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.
Output: What is the building designed by the man who died on 20 April 1881 that was demolished in the 1970s?
Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles. 
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.
Output: What building's plans for redecoration by the man who's career was short but illustrious were abandoned in the 1870s?
Passage: William Burges  (; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.
Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863, when he was 35, and he died, in 1881, at his Kensington home, The Tower House, aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles. 
Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).
Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), at Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.
Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.
Output: What is the name of the building designed by the architect who's output was small but varied that was constructed from 1867-74?
Passage: Star Reporter, John Randolph, with his fiancée, Barbara Burnette, (Marsha Hunt), has faith in her father, D.A. William Burnette, and throws the full weight of his newspaper behind him, in hopes of tracking down his own father's killer.
John is convinced that his father was murdered to stop him from revealing the organized crime bosses, in the city. Now, all he needs is proof. Just as he's about to get the goods on the criminal kingpin, lawyer Whittaker, there is another murder.
Little does John suspect that the confessed killer, Joe Draper and his own mother, Mrs. Julia Randolph have their own deep, dark secret, from the past: the true identity of her long, lost, already declared dead, husband; and, John's real father.
Whittaker and his mobsters will do anything to close the case. They're willing to shut anyone up permanently, who they can't buy off. John will stop at nothing, to see justice done, even when his own fiancée and Mother warn him that he might not be ready to handle the truth!.
Output: What is the full name of the person whose father was murdered?
Passage: Star Reporter, John Randolph, with his fiancée, Barbara Burnette, (Marsha Hunt), has faith in her father, D.A. William Burnette, and throws the full weight of his newspaper behind him, in hopes of tracking down his own father's killer.
John is convinced that his father was murdered to stop him from revealing the organized crime bosses, in the city. Now, all he needs is proof. Just as he's about to get the goods on the criminal kingpin, lawyer Whittaker, there is another murder.
Little does John suspect that the confessed killer, Joe Draper and his own mother, Mrs. Julia Randolph have their own deep, dark secret, from the past: the true identity of her long, lost, already declared dead, husband; and, John's real father.
Whittaker and his mobsters will do anything to close the case. They're willing to shut anyone up permanently, who they can't buy off. John will stop at nothing, to see justice done, even when his own fiancée and Mother warn him that he might not be ready to handle the truth!.
Output: What is the full name of the person whose husband was murdered?
Passage: Star Reporter, John Randolph, with his fiancée, Barbara Burnette, (Marsha Hunt), has faith in her father, D.A. William Burnette, and throws the full weight of his newspaper behind him, in hopes of tracking down his own father's killer.
John is convinced that his father was murdered to stop him from revealing the organized crime bosses, in the city. Now, all he needs is proof. Just as he's about to get the goods on the criminal kingpin, lawyer Whittaker, there is another murder.
Little does John suspect that the confessed killer, Joe Draper and his own mother, Mrs. Julia Randolph have their own deep, dark secret, from the past: the true identity of her long, lost, already declared dead, husband; and, John's real father.
Whittaker and his mobsters will do anything to close the case. They're willing to shut anyone up permanently, who they can't buy off. John will stop at nothing, to see justice done, even when his own fiancée and Mother warn him that he might not be ready to handle the truth!.
Output: What is the first name of the person who needs proof about a murder?
Passage: In a December 8, 1953 speech to the United Nations, President Dwight D. Eisenhower announced a new Atoms for Peace policy, and Congress enacted his program into law the following year. Atoms for Peace "made funding accessible to anyone who had the imagination, if not the ability, to harness the atom's power for peaceful purposes". Under the new program, the airplane manufacturer Curtiss-Wright Corporation sought a large isolated area in central Pennsylvania "for the development of nuclear-powered jet engines and to conduct research in nucleonics, metallurgy, ultrasonics, electronics, chemicals and plastics". Curtiss-Wright worked closely with the state, and in June 1955, Governor George M. Leader signed legislation that authorized the construction of a research facility at Quehanna. The Commonwealth of Pennsylvania sold Curtiss-Wright 8,597 acres (3,479 ha) for $181,250 ($22.50 an acre, $55.60 a hectare), and gave the company a 99-year lease on the remaining 42,596 acres (17,238 ha) at $30,000 a year. Curtiss-Wright controlled 51,193 acres (80.0 sq mi; 207.2 km2) in a regular 16-sided polygon, which was easier to fence than a circular area.The state constructed $1.6 million of roads to the area; the Quehanna Highway was built on parts of an old CCC road, which followed an earlier logging railroad grade. Pennsylvania also canceled 212 camp site leases to help ensure security for the installation. Curtiss-Wright built three facilities on its land. The first was a nuclear research center with a nuclear reactor and six shielded radiation containment chambers for handling radioactive isotopes, referred to as hot cells, at the end of Reactor Road. The second was for jet engine trials, and had two test cells with bunkers just north of Quehanna Highway, about 0.5 miles (0.8 km) apart. The northern test cell was at the center of the 16-sided polygon; even if a jet engine broke its moorings, it could not leave the polygonal area. Both of these were on the land which Curtiss-Wright had purchased, which was a regular octagon surrounded with a 24-mile (39 km) fence built by forest rangers, supervised from three guard houses on Quehanna Highway and Wykoff Run Road. The third installation was an industrial complex at the southeast edge of the polygon, in Karthaus Township, on the Quehanna Highway. At this site, a Curtiss-Wright division manufactured Curon foam for furniture and household products and used beryllium oxide to make high-temperature ceramics for application in the nuclear industry.
Output: In what town was the third installation purchased by the man who controlled 51,193 acres?
Passage: The story follows the life of the 35-year-old Melody Parris (Played by Mimi Rogers), a skilled perfume girl, who is living a somewhat flavorless life in Seattle, with a pompous, pushy boyfriend named George and an overbearing mother who lives right next door to her, who is obsessed with her getting married.
It starts with another unsatisfactory day at work for Melody, but on the bus, her best friend Naomi tells her to make a Christmas list for selfish fun. She starts to but then receives a call from George, who is on a flight home from a business trip.
During a talk with her mother that evening, she asks her if they could try to make their Christmas "Dickens-Style"; however her mother is reluctant to do this. Another neighbor's daughter, Amber Mottola, is a supermodel, and her mother harps on how Melody's sister is married, and so Melody storms out, saying that she's sorry she's not anything that makes her mother proud, missing her mother saying that she is proud.
The next day at work, Melody is passed over for a promotion to the head of the perfume department at the department store where she works for a younger, less skilled co-worker, April May, whose main objective is to sell, not to serve. Melody finally decides to finish her Christmas list, and the next day, she takes it to work and (after some playfulness with Naomi) Naomi puts it in Santa's Mailbox at the department store. Then, things begin to change. She meets Danny Skylar, a boy who wants to buy a perfume that was similar to the smell of his late mother's, and when he can't pay the full amount, Melody loans him the rest, and he puts her name, along with his, on the entry form in a sweepstakes at the store to win a new Ford Mustang convertible.
Output: Who plays the part of the woman who asks for a "Dickens-Style" Christmas?
Passage: The story follows the life of the 35-year-old Melody Parris (Played by Mimi Rogers), a skilled perfume girl, who is living a somewhat flavorless life in Seattle, with a pompous, pushy boyfriend named George and an overbearing mother who lives right next door to her, who is obsessed with her getting married.
It starts with another unsatisfactory day at work for Melody, but on the bus, her best friend Naomi tells her to make a Christmas list for selfish fun. She starts to but then receives a call from George, who is on a flight home from a business trip.
During a talk with her mother that evening, she asks her if they could try to make their Christmas "Dickens-Style"; however her mother is reluctant to do this. Another neighbor's daughter, Amber Mottola, is a supermodel, and her mother harps on how Melody's sister is married, and so Melody storms out, saying that she's sorry she's not anything that makes her mother proud, missing her mother saying that she is proud.
The next day at work, Melody is passed over for a promotion to the head of the perfume department at the department store where she works for a younger, less skilled co-worker, April May, whose main objective is to sell, not to serve. Melody finally decides to finish her Christmas list, and the next day, she takes it to work and (after some playfulness with Naomi) Naomi puts it in Santa's Mailbox at the department store. Then, things begin to change. She meets Danny Skylar, a boy who wants to buy a perfume that was similar to the smell of his late mother's, and when he can't pay the full amount, Melody loans him the rest, and he puts her name, along with his, on the entry form in a sweepstakes at the store to win a new Ford Mustang convertible.
Output: What interrupts Melody when she's writing a Christmas list?
Passage: The story follows the life of the 35-year-old Melody Parris (Played by Mimi Rogers), a skilled perfume girl, who is living a somewhat flavorless life in Seattle, with a pompous, pushy boyfriend named George and an overbearing mother who lives right next door to her, who is obsessed with her getting married.
It starts with another unsatisfactory day at work for Melody, but on the bus, her best friend Naomi tells her to make a Christmas list for selfish fun. She starts to but then receives a call from George, who is on a flight home from a business trip.
During a talk with her mother that evening, she asks her if they could try to make their Christmas "Dickens-Style"; however her mother is reluctant to do this. Another neighbor's daughter, Amber Mottola, is a supermodel, and her mother harps on how Melody's sister is married, and so Melody storms out, saying that she's sorry she's not anything that makes her mother proud, missing her mother saying that she is proud.
The next day at work, Melody is passed over for a promotion to the head of the perfume department at the department store where she works for a younger, less skilled co-worker, April May, whose main objective is to sell, not to serve. Melody finally decides to finish her Christmas list, and the next day, she takes it to work and (after some playfulness with Naomi) Naomi puts it in Santa's Mailbox at the department store. Then, things begin to change. She meets Danny Skylar, a boy who wants to buy a perfume that was similar to the smell of his late mother's, and when he can't pay the full amount, Melody loans him the rest, and he puts her name, along with his, on the entry form in a sweepstakes at the store to win a new Ford Mustang convertible.
Output: Who is the woman who has to work for a younger girl named after months of the year dating?
Passage: The story follows the life of the 35-year-old Melody Parris (Played by Mimi Rogers), a skilled perfume girl, who is living a somewhat flavorless life in Seattle, with a pompous, pushy boyfriend named George and an overbearing mother who lives right next door to her, who is obsessed with her getting married.
It starts with another unsatisfactory day at work for Melody, but on the bus, her best friend Naomi tells her to make a Christmas list for selfish fun. She starts to but then receives a call from George, who is on a flight home from a business trip.
During a talk with her mother that evening, she asks her if they could try to make their Christmas "Dickens-Style"; however her mother is reluctant to do this. Another neighbor's daughter, Amber Mottola, is a supermodel, and her mother harps on how Melody's sister is married, and so Melody storms out, saying that she's sorry she's not anything that makes her mother proud, missing her mother saying that she is proud.
The next day at work, Melody is passed over for a promotion to the head of the perfume department at the department store where she works for a younger, less skilled co-worker, April May, whose main objective is to sell, not to serve. Melody finally decides to finish her Christmas list, and the next day, she takes it to work and (after some playfulness with Naomi) Naomi puts it in Santa's Mailbox at the department store. Then, things begin to change. She meets Danny Skylar, a boy who wants to buy a perfume that was similar to the smell of his late mother's, and when he can't pay the full amount, Melody loans him the rest, and he puts her name, along with his, on the entry form in a sweepstakes at the store to win a new Ford Mustang convertible.
Output: Besides her own name, who else's name does Melody put on the entry form in a sweepstakes at the store?
Passage: The story follows the life of the 35-year-old Melody Parris (Played by Mimi Rogers), a skilled perfume girl, who is living a somewhat flavorless life in Seattle, with a pompous, pushy boyfriend named George and an overbearing mother who lives right next door to her, who is obsessed with her getting married.
It starts with another unsatisfactory day at work for Melody, but on the bus, her best friend Naomi tells her to make a Christmas list for selfish fun. She starts to but then receives a call from George, who is on a flight home from a business trip.
During a talk with her mother that evening, she asks her if they could try to make their Christmas "Dickens-Style"; however her mother is reluctant to do this. Another neighbor's daughter, Amber Mottola, is a supermodel, and her mother harps on how Melody's sister is married, and so Melody storms out, saying that she's sorry she's not anything that makes her mother proud, missing her mother saying that she is proud.
The next day at work, Melody is passed over for a promotion to the head of the perfume department at the department store where she works for a younger, less skilled co-worker, April May, whose main objective is to sell, not to serve. Melody finally decides to finish her Christmas list, and the next day, she takes it to work and (after some playfulness with Naomi) Naomi puts it in Santa's Mailbox at the department store. Then, things begin to change. She meets Danny Skylar, a boy who wants to buy a perfume that was similar to the smell of his late mother's, and when he can't pay the full amount, Melody loans him the rest, and he puts her name, along with his, on the entry form in a sweepstakes at the store to win a new Ford Mustang convertible.
Output: Who does Melody loan money to?
Passage: Failing to sell at the Summer Exhibition, The Combat was bought from Etty by fellow artist John Martin for 300 guineas (about £24,000 in 2019 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the Royal Scottish Academy. It was transferred in 1910 to the nearby National Gallery of Scotland where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal Art Treasures Exhibition of 1857, before Etty fell out of fashion in the second half of the 19th century.
Throughout his life, The Combat continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of The Combat, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an engraving by George Thomas Doo. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the Ringling Museum in 1934. A number of sketches attributed to Etty, under the name of A Study for Mercy Interceding for the Vanquished, are also in circulation.After the success of The Combat, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including Cleopatra, Pandora and The Combat) all but one contained a nude figure. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. The Combat was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated by nude women.The 1832 exhibition of Youth on the Prow, and Pleasure at the Helm, a painting containing apparently gratuitous nude figures, met a hostile reception from critics. From then on, while Etty continued to paint nude figures for the rest of his career, he made a conscious effort to try to illustrate moral lessons with his work. This effort was not wholly successful, and he continued to be regarded as a pornographer by some throughout his career. He died in late 1849, and following his death nude paintings went rapidly out of fashion in Britain.
Output: What was the name of the person that painted the painting that the Royal Scottish Academy purchased?
Passage: Failing to sell at the Summer Exhibition, The Combat was bought from Etty by fellow artist John Martin for 300 guineas (about £24,000 in 2019 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the Royal Scottish Academy. It was transferred in 1910 to the nearby National Gallery of Scotland where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal Art Treasures Exhibition of 1857, before Etty fell out of fashion in the second half of the 19th century.
Throughout his life, The Combat continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of The Combat, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an engraving by George Thomas Doo. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the Ringling Museum in 1934. A number of sketches attributed to Etty, under the name of A Study for Mercy Interceding for the Vanquished, are also in circulation.After the success of The Combat, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including Cleopatra, Pandora and The Combat) all but one contained a nude figure. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. The Combat was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated by nude women.The 1832 exhibition of Youth on the Prow, and Pleasure at the Helm, a painting containing apparently gratuitous nude figures, met a hostile reception from critics. From then on, while Etty continued to paint nude figures for the rest of his career, he made a conscious effort to try to illustrate moral lessons with his work. This effort was not wholly successful, and he continued to be regarded as a pornographer by some throughout his career. He died in late 1849, and following his death nude paintings went rapidly out of fashion in Britain.
Output: What is the name of the person that painted the painting that was transferred in 1910 to the National Gallery of Scotland?
Passage: Failing to sell at the Summer Exhibition, The Combat was bought from Etty by fellow artist John Martin for 300 guineas (about £24,000 in 2019 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the Royal Scottish Academy. It was transferred in 1910 to the nearby National Gallery of Scotland where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal Art Treasures Exhibition of 1857, before Etty fell out of fashion in the second half of the 19th century.
Throughout his life, The Combat continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of The Combat, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an engraving by George Thomas Doo. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the Ringling Museum in 1934. A number of sketches attributed to Etty, under the name of A Study for Mercy Interceding for the Vanquished, are also in circulation.After the success of The Combat, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including Cleopatra, Pandora and The Combat) all but one contained a nude figure. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. The Combat was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated by nude women.The 1832 exhibition of Youth on the Prow, and Pleasure at the Helm, a painting containing apparently gratuitous nude figures, met a hostile reception from critics. From then on, while Etty continued to paint nude figures for the rest of his career, he made a conscious effort to try to illustrate moral lessons with his work. This effort was not wholly successful, and he continued to be regarded as a pornographer by some throughout his career. He died in late 1849, and following his death nude paintings went rapidly out of fashion in Britain.
Output: What is the final owner of the copy of The Combat that Etty painted in 1845?
Passage: Failing to sell at the Summer Exhibition, The Combat was bought from Etty by fellow artist John Martin for 300 guineas (about £24,000 in 2019 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the Royal Scottish Academy. It was transferred in 1910 to the nearby National Gallery of Scotland where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal Art Treasures Exhibition of 1857, before Etty fell out of fashion in the second half of the 19th century.
Throughout his life, The Combat continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of The Combat, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an engraving by George Thomas Doo. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the Ringling Museum in 1934. A number of sketches attributed to Etty, under the name of A Study for Mercy Interceding for the Vanquished, are also in circulation.After the success of The Combat, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including Cleopatra, Pandora and The Combat) all but one contained a nude figure. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. The Combat was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated by nude women.The 1832 exhibition of Youth on the Prow, and Pleasure at the Helm, a painting containing apparently gratuitous nude figures, met a hostile reception from critics. From then on, while Etty continued to paint nude figures for the rest of his career, he made a conscious effort to try to illustrate moral lessons with his work. This effort was not wholly successful, and he continued to be regarded as a pornographer by some throughout his career. He died in late 1849, and following his death nude paintings went rapidly out of fashion in Britain.
Output: What is the name of the person that had 15 pictures exhibited at the Royal Academy in the 1820's?
Passage: Failing to sell at the Summer Exhibition, The Combat was bought from Etty by fellow artist John Martin for 300 guineas (about £24,000 in 2019 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the Royal Scottish Academy. It was transferred in 1910 to the nearby National Gallery of Scotland where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal Art Treasures Exhibition of 1857, before Etty fell out of fashion in the second half of the 19th century.
Throughout his life, The Combat continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of The Combat, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an engraving by George Thomas Doo. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the Ringling Museum in 1934. A number of sketches attributed to Etty, under the name of A Study for Mercy Interceding for the Vanquished, are also in circulation.After the success of The Combat, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including Cleopatra, Pandora and The Combat) all but one contained a nude figure. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. The Combat was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated by nude women.The 1832 exhibition of Youth on the Prow, and Pleasure at the Helm, a painting containing apparently gratuitous nude figures, met a hostile reception from critics. From then on, while Etty continued to paint nude figures for the rest of his career, he made a conscious effort to try to illustrate moral lessons with his work. This effort was not wholly successful, and he continued to be regarded as a pornographer by some throughout his career. He died in late 1849, and following his death nude paintings went rapidly out of fashion in Britain.
Output: Where was Etty elected a full Royal Academician in 1828?
Passage: Failing to sell at the Summer Exhibition, The Combat was bought from Etty by fellow artist John Martin for 300 guineas (about £24,000 in 2019 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the Royal Scottish Academy. It was transferred in 1910 to the nearby National Gallery of Scotland where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal Art Treasures Exhibition of 1857, before Etty fell out of fashion in the second half of the 19th century.
Throughout his life, The Combat continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of The Combat, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an engraving by George Thomas Doo. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the Ringling Museum in 1934. A number of sketches attributed to Etty, under the name of A Study for Mercy Interceding for the Vanquished, are also in circulation.After the success of The Combat, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including Cleopatra, Pandora and The Combat) all but one contained a nude figure. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. The Combat was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated by nude women.The 1832 exhibition of Youth on the Prow, and Pleasure at the Helm, a painting containing apparently gratuitous nude figures, met a hostile reception from critics. From then on, while Etty continued to paint nude figures for the rest of his career, he made a conscious effort to try to illustrate moral lessons with his work. This effort was not wholly successful, and he continued to be regarded as a pornographer by some throughout his career. He died in late 1849, and following his death nude paintings went rapidly out of fashion in Britain.
Output: What is the name of the person that painted Youth on the Prow?