The Reconquest: The aim of the Crusades in Spain was the eviction of the Muslims. After the recovery of Jerusalem in 1099, it took four hundred years of sieges and battles, treaties, betrayals, and yet more battles, before Christian kings and warlords succeeded in subduing the Moors. On 10 September 1229, a Catalan army led by King Jaume I of Aragon and Catalunya took the Mallorcan shore near the present-day resort of Santa Ponca. The defenders retreated inside the walls of Palma, but on the last day of 1229 the city fell, and pockets of resistance throughout the island were also defeated. Jaume I proved to be an enlightened ruler who profited from the talents of the Moorsconverted by force to Christianityas well as of the island's large Jewish and Genoese trading communities. Mallorca prospered. The Moors on Menorca speedily agreed to pay an annual tribute to Aragon and were left in peace. The island's tranquility lasted until 1287, when Alfonso III of Aragon, smarting over a series of humiliations at the hands of his nobles, found a pretext for invasion. The Moors were defeated and expelled or killed. In contrast to Mallorca, Menorca's economy was devastated for decades. Jaume I died after reigning in Aragon for six decades, but he made the cardinal error of dividing between his sons the lands he had fought for so long to unite. At first this resulted in an Independent Kingdom of Mallorca, under Jaume II, followed by Sanc and Jaume III. But family rivalry triggered the overthrow of Jaume III by his cousin Pedro IV, who then seized the Balearics for Aragon. Attempting a comeback, Jaume was killed in battle near Llucmajor in 1349. A newly unified Christian Spain under the Catholic Monarchs, Ferdinand and Isabella, completed the Reconquest, defeating the only Moorish enclave left on the Iberian peninsula, Granada, in 1492. However, the centralized kingdom failed to incorporate the Balearics politically or economically.

Question: "What caused a tranquility on the island of Menorca that lasted until 1287?"

Response: "The Moors converted to Christianity"

A: no

On the previous evening,--March 12th,--the monotony of the camp had been unexpectedly disturbed by the arrival, from the direction of Salt Lake City, of a horseman completely exhausted by fatigue and cold, who proved to be no other than Mr. Kane, whose mission to the Mormons by way of California was at that time totally unknown to the army. The next morning he introduced himself to the Governor, was received as his guest, and remained in conference with him throughout the day. What was the character of their communication is unknown, except by inference from its results. When presented to Judge Eckels, on the following day, Mr. Kane exhibited to him the letters he bore from the President, and other letters, also, from Brigham Young, accrediting him as a negotiator in the existing difficulties. To General Johnston he showed nothing; nor did the Governor, to the knowledge of the camp, acquaint either that officer or any other person with the purport of his business. It was evident to everybody, however, that the Mormon leaders, conscious of their inability to resist the force by which they would be assailed so soon as the snow should melt upon the mountains, were engaged in an effort, of which Mr. Kane was the agent, to secure through the Governor, if possible, indemnity for their past offences, in consideration of acknowledgment of his authority.

Question: "How many people was Mr. Kane involved with in his meetings?"

Response: "1"

A: no

Search "Emiliano Malaquez" and you'll find he's a master of the "captured moment" school of sculpture. Even The Terran Times has only praise for his work. To compare his pieces to those of others is to compare mannequins to living models. He accents the illusion of reality --I paraphrase his entry in La Enciclopedia Humanica --by doing life-size scenes in "The full round," never the easier frontal or three-quarters view. Moreover, he never did portraits of famous people; his works were therefore the reality and could never be compared to it. As is typical of his school, his pieces are sealed in stopboxes. The shimmer of light on their surfaces always reminds us that we're looking at an instant snatched from under the hooves of time. They say the cubes will outlast planets and suns, that when the universe dies, the works of Malaquez and his followers will be the last things seen in the final wink of God's eye. Yes, Self, I am also bothered that this observation ignores half-eaten cheese sandwiches, incomplete insect collections, and locks of infants' hair, forgotten in closets, basements, and warehouses. You see the inspiration for my latest play, "Captured Moments." The mindwipe will take its creation from my future self --but time too often does that without aid. The play's second act concludes with the last fight between Tasha and me. I have disguised us in the play, and deleted one brief melodramatic interchange. Now I will mention it, in case I/You decide to restore it. Shortly before she left, Tasha said, "You steal from life for art, Bernardo. You'll impoverish yourself." I only snarled at her and -- My story leaps ahead of itself. Let me retreat and retrench: One night during N'apulco's mild winter, Tasha returned to The Flamingo, saying, "Nardo! Nardo! Guess what?"

Question: "Is Emiliano Malaquez's work abstract?"

Response: "No- he does life-size scenes"

A:
yes