Context and question: During the period between 1582, when the first countries adopted the Gregorian calendar, and 1923, when the last European country adopted it, it was often necessary to indicate the date of some event in both the Julian calendar and in the Gregorian calendar, for example, "10/21 February 1750/51", where the dual year accounts for some countries already beginning their numbered year on 1 January while others were still using some other date. Even before 1582, the year sometimes had to be double dated because of the different beginnings of the year in various countries. Woolley, writing in his biography of John Dee (15271608/9), notes that immediately after 1582 English letter writers "customarily" used "two dates" on their letters, one OS and one NS.
Why did the year sometimes have to be double dated after 1582?
Answer: unanswerable
Context and question: The Cafe Procope was established in Paris in 1686; by the 1720s there were around 400 cafes in the city. The Cafe Procope in particular became a center of Enlightenment, welcoming such celebrities as Voltaire and Rousseau. The Cafe Procope was where Diderot and D'Alembert decided to create the Encyclopedie. The cafes were one of the various "nerve centers" for bruits publics, public noise or rumour. These bruits were allegedly a much better source of information than were the actual newspapers available at the time.
By the 1720s. how many cafes were in Paris?
Answer: around 400
Context and question: This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Depiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier's Abundance shown at the Independants of 1911, and Delaunay's City of Paris, shown at the Independants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Leger's The Wedding, also shown at the Salon des Independants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carra; themselves made in response to early Cubism.
Which of Gliezes pieces was not featured at Salon de la Section d'Or?
Answer:
unanswerable