romikgosai/squad_modified huggingface dataset:
The mosaic pavement of the Vrina Plain basilica of Butrint, Albania appear to pre-date that of the Baptistery by almost a generation, dating to the last quarter of the 5th or the first years of the 6th century. The mosaic displays a variety of motifs including sea-creatures, birds, terrestrial beasts, fruits, flowers, trees and abstracts – designed to depict a terrestrial paradise of God’s creation. Superimposed on this scheme are two large tablets, tabulae ansatae, carrying inscriptions. A variety of fish, a crab, a lobster, shrimps, mushrooms, flowers, a stag and two cruciform designs surround the smaller of the two inscriptions, which reads: In fulfilment of the vow (prayer) of those whose names God knows. This anonymous dedicatory inscription is a public demonstration of the benefactors’ humility and an acknowledgement of God’s omniscience.

Questions and answers:
['
Q: The floor mosaic in Butrint is how much older than that of the Baptistry?
A: almost a generation', '
Q: In what country is Butrint?
A: Albania', '
Q: What type of message was left on the mosaics at Butrint?
A: prayer', '
Q: The Vrina Plain basilica is in which city?
A: Butrint', '
Q: What was the mosaic at Butrint designed to portray?
A: a terrestrial paradise']
The abundant variety of natural life depicted in the Butrint mosaics celebrates the richness of God’s creation; some elements also have specific connotations. The kantharos vase and vine refer to the eucharist, the symbol of the sacrifice of Christ leading to salvation. Peacocks are symbols of paradise and resurrection; shown eating or drinking from the vase they indicate the route to eternal life. Deer or stags were commonly used as images of the faithful aspiring to Christ: "As a heart desireth the water brook, so my souls longs for thee, O God." Water-birds and fish and other sea-creatures can indicate baptism as well as the members of the Church who are christened.

Questions and answers:
['
Q: What was depicted on the Butrint mosaics in abundance?
A: natural life', '
Q: What do the katharos vase and vine refer to?
A: the eucharist', '
Q: What do peacocks represent in Christian symbolism?
A: paradise and resurrection', '
Q: What do most sea-creatures represent in Christina symbolism?
A: baptism', '
Q: What did deers or stags represent in Christian Symbolism?
A: the faithful aspiring to Christ']
Christian mosaic art also flourished in Rome, gradually declining as conditions became more difficult in the Early Middle Ages. 5th century mosaics can be found over the triumphal arch and in the nave of the basilica of Santa Maria Maggiore. The 27 surviving panels of the nave are the most important mosaic cycle in Rome of this period. Two other important 5th century mosaics are lost but we know them from 17th-century drawings. In the apse mosaic of Sant'Agata dei Goti (462–472, destroyed in 1589) Christ was seated on a globe with the twelve Apostles flanking him, six on either side. At Sant'Andrea in Catabarbara (468–483, destroyed in 1686) Christ appeared in the center, flanked on either side by three Apostles. Four streams flowed from the little mountain supporting Christ. The original 5th-century apse mosaic of the Santa Sabina was replaced by a very similar fresco by Taddeo Zuccari in 1559. The composition probably remained unchanged: Christ flanked by male and female saints, seated on a hill while lambs drinking from a stream at its feet. All three mosaics had a similar iconography.

Questions and answers:
['
Q: When did conditions become difficult for mosaic art in Rome?
A: the Early Middle Ages', "
Q: When was the mosaic of Sant'Agata dei Goti destroyed?
A: 1589", '
Q: What was similar between the three most important 5th century mosaics?
A: iconography', '
Q: When was the mosaic at Santa Sabina replaced with a fresco?
A: 1559', '
Q: Who was the artist that painted the fresco that replaced the mosaic at Santa Sobina?
A: Taddeo Zuccari']
In the 7th–9th centuries Rome fell under the influence of Byzantine art, noticeable on the mosaics of Santa Prassede, Santa Maria in Domnica, Sant'Agnese fuori le Mura, Santa Cecilia in Trastevere, Santi Nereo e Achilleo and the San Venanzio chapel of San Giovanni in Laterano. The great dining hall of Pope Leo III in the Lateran Palace was also decorated with mosaics. They were all destroyed later except for one example, the so-called Triclinio Leoniano of which a copy was made in the 18th century. Another great work of Pope Leo, the apse mosaic of Santa Susanna, depicted Christ with the Pope and Charlemagne on one side, and SS. Susanna and Felicity on the other. It was plastered over during a renovation in 1585. Pope Paschal I (817–824) embellished the church of Santo Stefano del Cacco with an apsidal mosaic which depicted the pope with a model of the church (destroyed in 1607).

Questions and answers:
['
Q: During which centuries did ROme fall under the influence of Byzantine art?
A: the 7th–9th centuries', '
Q: The lateran Palace was decorated with what?
A: mosaics', '
Q: What do most mosaics from the 7th-9th centuries have in common?
A: They were all destroyed later', '
Q: Which mosaic survived through the 9th century, and then had a copy made in the 18th?
A: Triclinio Leoniano', '
Q: When was the mosaic at the church of Santo Stefano del Cacco destroyed?
A: 1607']
Important fragments survived from the mosaic floor of the Great Palace of Constantinople which was commissioned during Justinian's reign. The figures, animals, plants all are entirely classical but they are scattered before a plain background. The portrait of a moustached man, probably a Gothic chieftain, is considered the most important surviving mosaic of the Justinianian age. The so-called small sekreton of the palace was built during Justin II's reign around 565–577. Some fragments survive from the mosaics of this vaulted room. The vine scroll motifs are very similar to those in the Santa Constanza and they still closely follow the Classical tradition. There are remains of floral decoration in the Church of the Acheiropoietos in Thessaloniki (5th–6th centuries).

Questions and answers:
["
Q: When were the mosaics at the Great Palace of Constantinople commissioned?
A: during Justinian's reign", '
Q: What is considered the most important surviving mosaic of the Justinian age?
A: The portrait of a moustached man', '
Q: What was the small vaulted room in the Great Palace of Constantinople called?
A: small sekreton', '
Q: Vine Scroll motifs are classified under what kind of tradition?
A: Classical', '
Q: When were the mosaics at the church in Thessaloniki created?
A: 5th–6th centuries']
Very few early Byzantine mosaics survived the Iconoclastic destruction of the 8th century. Among the rare examples are the 6th-century Christ in majesty (or Ezekiel's Vision) mosaic in the apse of the Church of Hosios David in Thessaloniki that was hidden behind mortar during those dangerous times. Nine mosaic panels in the Hagios Demetrios Church, which were made between 634 and 730, also escaped destruction. Unusually almost all represent Saint Demetrius of Thessaloniki, often with suppliants before him.

Questions and answers:
['
Q: How many Byzantine mosaics survived past the 8th century?
A: Very few', "
Q: The mosaic in the church in Thessaloniki is know as what?
A: Christ in majesty (or Ezekiel's Vision)", '
Q: When were the panels in the Hagios Demetrios Church created?
A: between 634 and 730', '
Q: Why was Christ in majesty protected from the iconoclastic destruction?
A: hidden behind mortar', '
Q: What is common about the surviving mosaics from the 7th-9th centuries?
A: almost all represent Saint Demetrius']
In the Iconoclastic era, figural mosaics were also condemned as idolatry. The Iconoclastic churches were embellished with plain gold mosaics with only one great cross in the apse like the Hagia Irene in Constantinople (after 740). There were similar crosses in the apses of the Hagia Sophia Church in Thessaloniki and in the Church of the Dormition in Nicaea. The crosses were substituted with the image of the Theotokos in both churches after the victory of the Iconodules (787–797 and in 8th–9th centuries respectively, the Dormition church was totally destroyed in 1922).

Questions and answers:
['
Q: What was the common mosaic theme of iconoclastic churches?
A: gold mosaics with only one great cross', '
Q: Why were mosaics destroyed in the iconoclastic era?
A: condemned as idolatry', '
Q: When did the Iconodules  change the cross in the Hagia Sophia?
A: 787–797', '
Q: When did the Hagia Irene adapt the iconoclastic era mosaics?
A: after 740', '
Q: When was the Dormition church destroyed? 
A: 1922']
The Nea Moni Monastery on Chios was established by Constantine Monomachos in 1043–1056. The exceptional mosaic decoration of the dome showing probably the nine orders of the angels was destroyed in 1822 but other panels survived (Theotokos with raised hands, four evangelists with seraphim, scenes from Christ's life and an interesting Anastasis where King Salomon bears resemblance to Constantine Monomachos). In comparison with Osios Loukas Nea Moni mosaics contain more figures, detail, landscape and setting.

Questions and answers:
['
Q: Where is the Nea Moni Monastery located?
A: Chios', '
Q: Who established the Nea Moni Monastery?
A: Constantine Monomachos', '
Q: When was the Nea Moni Monastery established?
A: 1043–1056', '
Q: When was the mosaic at the Nea Moni Monastery destroyed?
A: 1822', '
Q: The Nea Moni mosaics are more detailed than what what other famous mosaics?
A: Osios Loukas']
Another great undertaking by Constantine Monomachos was the restoration of the Church of the Holy Sepulchre in Jerusalem between 1042 and 1048. Nothing survived of the mosaics which covered the walls and the dome of the edifice but the Russian abbot Daniel, who visited Jerusalem in 1106–1107 left a description: "Lively mosaics of the holy prophets are under the ceiling, over the tribune. The altar is surmounted by a mosaic image of Christ. In the main altar one can see the mosaic of the Exhaltation of Adam. In the apse the Ascension of Christ. The Annunciation occupies the two pillars next to the altar."

Questions and answers:
["
Q: Who restored the Church of the Holy Sepulchre in the 1040's?
A: Constantine Monomachos", '
Q: Who left the only description of the mosaics at the Church of the Holy Sepulchre?
A: the Russian abbot Daniel', '
Q: What survives of the mosaics that adorned the walls and dome of the Church of the Holy Sepulchre?
A: Nothing', '
Q: Where did the Russian abbot Daniel travel in 1106-07?
A: Jerusalem']
The 9th- and 10th-century mosaics of the Hagia Sophia in Constantinople are truly classical Byzantine artworks. The north and south tympana beneath the dome was decorated with figures of prophets, saints and patriarchs. Above the principal door from the narthex we can see an Emperor kneeling before Christ (late 9th or early 10th century). Above the door from the southwest vestibule to the narthex another mosaic shows the Theotokos with Justinian and Constantine. Justinian I is offering the model of the church to Mary while Constantine is holding a model of the city in his hand. Both emperors are beardless – this is an example for conscious archaization as contemporary Byzantine rulers were bearded. A mosaic panel on the gallery shows Christ with Constantine Monomachos and Empress Zoe (1042–1055). The emperor gives a bulging money sack to Christ as a donation for the church.

Questions and answers:
['
Q: When were the Byzantine mosaics of the Hagia Sophia created?
A: The 9th- and 10th-century', '
Q: The tympana under the dome had images of whom displayed?
A: prophets, saints and patriarchs', '
Q: What does the Empress give to Christ as depicted by the mosaic?
A: a bulging money sack', '
Q: When did the Empress Zoe die?
A: 1055', '
Q: Who was depicted with the Empress Zoe on a panel in the gallery of the Hagia Sophia?
A: Constantine Monomachos']
There are very few existing mosaics from the Komnenian period but this paucity must be due to accidents of survival and gives a misleading impression. The only surviving 12th-century mosaic work in Constantinople is a panel in Hagia Sophia depicting Emperor John II and Empress Eirene with the Theotokos (1122–34). The empress with her long braided hair and rosy cheeks is especially capturing. It must be a lifelike portrayal because Eirene was really a redhead as her original Hungarian name, Piroska shows. The adjacent portrait of Emperor Alexios I Komnenos on a pier (from 1122) is similarly personal. The imperial mausoleum of the Komnenos dynasty, the Pantokrator Monastery was certainly decorated with great mosaics but these were later destroyed. The lack of Komnenian mosaics outside the capital is even more apparent. There is only a "Communion of the Apostles" in the apse of the cathedral of Serres.

Questions and answers:
['
Q: Why are there so few surviving mosaics from the Komnenian period?
A: accidents of survival', '
Q: Where is the only existing 12th century mosaic in Constantinople?
A: Hagia Sophia', '
Q: The empress Eirene had what color hair?
A: red', '
Q: What deity does the 12th century mosaic in the Hagia Sophia depict?
A: the Theotokos', '
Q: The only surviving mosaic from the Komnenos dynasty outside Constantinople is in what church?
A: the cathedral of Serres']
A striking technical innovation of the Komnenian period was the production of very precious, miniature mosaic icons. In these icons the small tesserae (with sides of 1 mm or less) were set on wax or resin on a wooden panel. These products of extraordinary craftmanship were intended for private devotion. The Louvre Transfiguration is a very fine example from the late 12th century. The miniature mosaic of Christ in the Museo Nazionale at Florence illustrates the more gentle, humanistic conception of Christ which appeared in the 12th century.

Questions and answers:
['
Q: How big were the tesserae in the Komnenian period miniature mosaic icons?
A: 1 mm or less', '
Q: What were the tesserae usually set in for miniature mosaic icons?
A: wax or resin', '
Q: The more humanistic conception of Christ appeared when?
A: in the 12th century', '
Q: What was the intended purpose of the miniature mosaic icons?
A: private devotion']
The Church of the Holy Apostles in Thessaloniki was built in 1310–14. Although some vandal systematically removed the gold tesserae of the background it can be seen that the Pantokrator and the prophets in the dome follow the traditional Byzantine pattern. Many details are similar to the Pammakaristos mosaics so it is supposed that the same team of mosaicists worked in both buildings. Another building with a related mosaic decoration is the Theotokos Paregoritissa Church in Arta. The church was established by the Despot of Epirus in 1294–96. In the dome is the traditional stern Pantokrator, with prophets and cherubim below.

Questions and answers:
['
Q: When was the Church of the Holy Apostles built? 
A: 1310–14', '
Q: Who removed the gold tesserae in the background of the mosaic at the Church of the Holy Apostles?
A: some vandal', '
Q: Where is the Theotokos Paregoritissa Church located?
A: Arta', '
Q: Who established the Theotokos Paregoritissa Church in 1294-96?
A: the Despot of Epirus', '
Q: The same team of mosaicists worked on the Church of the Holy Apostles in Thessaloniki as which other building?
A: Pammakaristos']
The greatest mosaic work of the Palaeologan renaissance in art is the decoration of the Chora Church in Constantinople. Although the mosaics of the naos have not survived except three panels, the decoration of the exonarthex and the esonarthex constitute the most important full-scale mosaic cycle in Constantinople after the Hagia Sophia. They were executed around 1320 by the command of Theodore Metochites. The esonarthex has two fluted domes, specially created to provide the ideal setting for the mosaic images of the ancestors of Christ. The southern one is called the Dome of the Pantokrator while the northern one is the Dome of the Theotokos. The most important panel of the esonarthex depicts Theodore Metochites wearing a huge turban, offering the model of the church to Christ. The walls of both narthexes are decorated with mosaic cycles from the life of the Virgin and the life of Christ. These panels show the influence of the Italian trecento on Byzantine art especially the more natural settings, landscapes, figures.

Questions and answers:
['
Q: where is the greatest mosaic work of the renaissance?
A: the Chora Church in Constantinople', '
Q: How many mosaic panels from naos have survived?
A: three', '
Q: The panels of naos are only capped in importance by which other location?
A: the Hagia Sophia', '
Q: Who commissioned the mosaics at naos?
A: Theodore Metochites', '
Q: The panels from naos show what influence on Byzantine art. 
A: Italian trecento']
The last great period of Roman mosaic art was the 12th–13th century when Rome developed its own distinctive artistic style, free from the strict rules of eastern tradition and with a more realistic portrayal of figures in the space. Well-known works of this period are the floral mosaics of the Basilica di San Clemente, the façade of Santa Maria in Trastevere and San Paolo fuori le Mura. The beautiful apse mosaic of Santa Maria in Trastevere (1140) depicts Christ and Mary sitting next to each other on the heavenly throne, the first example of this iconographic scheme. A similar mosaic, the Coronation of the Virgin, decorates the apse of Santa Maria Maggiore. It is a work of Jacopo Torriti from 1295. The mosaics of Torriti and Jacopo da Camerino in the apse of San Giovanni in Laterano from 1288–94 were thoroughly restored in 1884. The apse mosaic of San Crisogono is attributed to Pietro Cavallini, the greatest Roman painter of the 13th century. Six scenes from the life of Mary in Santa Maria in Trastevere were also executed by Cavallini in 1290. These mosaics are praised for their realistic portrayal and attempts of perspective. There is an interesting mosaic medaillon from 1210 above the gate of the church of San Tommaso in Formis showing Christ enthroned between a white and a black slave. The church belonged to the Order of the Trinitarians which was devoted to ransoming Christian slaves.

Questions and answers:
['
Q: When was the last period of Roman mosaic art?
A: the 12th–13th century', '
Q: Where is the church of Santa maria?
A: Trastevere', '
Q: Who does the facade at the Santa Maria church depict?
A: Christ and Mary', '
Q: When were the mosaics at Torriti and Jacopo fully restored?
A: in 1884', '
Q: What year was the medallion above the gate of the church of San Tommaso?
A: 1210']
The great Navicella mosaic (1305–1313) in the atrium of the Old St. Peter's is attributed to Giotto di Bondone. The giant mosaic, commissioned by Cardinal Jacopo Stefaneschi, was originally situated on the eastern porch of the old basilica and occupied the whole wall above the entrance arcade facing the courtyard. It depicted St. Peter walking on the waters. This extraordinary work was mainly destroyed during the construction of the new St. Peter's in the 17th century. Navicella means "little ship" referring to the large boat which dominated the scene, and whose sail, filled by the storm, loomed over the horizon. Such a natural representation of a seascape was known only from ancient works of art.

Questions and answers:
["
Q: Who created the Navicella mosaic in the Old St. Peter's church?
A: Giotto di Bondone", '
Q: Who commissioned the Navicella mosaic?
A: Cardinal Jacopo Stefaneschi', '
Q: Who did the navicella mosaic depict walking on water?
A: St. Peter', '
Q: What century was the majority of the Navicella mosaic destroyed?
A: the 17th', '
Q: Navicella means what in Italian?
A: "little ship"']
The heyday of mosaic making in Sicily was the age of the independent Norman kingdom in the 12th century. The Norman kings adopted the Byzantine tradition of mosaic decoration to enhance the somewhat dubious legality of their rule. Greek masters working in Sicily developed their own style, that shows the influence of Western European and Islamic artistic tendencies. Best examples of Sicilian mosaic art are the Cappella Palatina of Roger II, the Martorana church in Palermo and the cathedrals of Cefalù and Monreale.

Questions and answers:
['
Q: Why did the Normans adopt a Byzantine art style?
A: enhance the somewhat dubious legality of their rule', '
Q: when was the height of mosaic art in sicily?
A: the 12th century', '
Q: Who was influenced by Western European and Islamic tendencies?
A: Greek masters working in Sicily', '
Q: Who adopted the Byzantine mosaic tradition?
A: Norman kings', '
Q: The Martorana church is an example of the best mosaic art in what part italy?
A: Sicily']
The Martorana church (decorated around 1143) looked originally even more Byzantine although important parts were later demolished. The dome mosaic is similar to that of the Cappella Palatina, with Christ enthroned in the middle and four bowed, elongated angels. The Greek inscriptions, decorative patterns, and evangelists in the squinches are obviously executed by the same Greek masters who worked on the Cappella Palatina. The mosaic depicting Roger II of Sicily, dressed in Byzantine imperial robes and receiving the crown by Christ, was originally in the demolished narthex together with another panel, the Theotokos with Georgios of Antiochia, the founder of the church.

Questions and answers:
['
Q: When was the Martorana church decorated?
A: around 1143', '
Q: Who is featured in the mosaic at the Martorana church?
A: Christ', '
Q: The Martorana church was likely decorated by the same greek masters who decorated which church?
A: the Cappella Palatina', '
Q: Who was the founder of the Martorana church?
A: Georgios of Antiochia', '
Q: Who is receiving a crown from christ in the mosaic originally in the narthex?
A: Roger II']
The Monreale mosaics constitute the largest decoration of this kind in Italy, covering 0,75 hectares with at least 100 million glass and stone tesserae. This huge work was executed between 1176 and 1186 by the order of King William II of Sicily. The iconography of the mosaics in the presbytery is similar to Cefalu while the pictures in the nave are almost the same as the narrative scenes in the Cappella Palatina. The Martorana mosaic of Roger II blessed by Christ was repeated with the figure of King William II instead of his predecessor. Another panel shows the king offering the model of the cathedral to the Theotokos.

Questions and answers:
['
Q: What is the name of the largest mosaics in Italy?
A: The Monreale mosaics', '
Q: At least how many tesserae are used in the the Monreale mosaics?
A: 100 million', '
Q: Who commissioned the Monreale mosaics between 1176 and 1186?
A: King William II of Sicily', '
Q: Who is displayed getting crowned by christ in the Monreale mosaics?
A: King William II', '
Q: What is the king offering Theotokos in the Monreale mosaics? 
A: the model of the cathedral']
Southern Italy was also part of the Norman kingdom but great mosaics did not survive in this area except the fine mosaic pavement of the Otranto Cathedral from 1166, with mosaics tied into a tree of life, mostly still preserved. The scenes depict biblical characters, warrior kings, medieval beasts, allegories of the months and working activity. Only fragments survived from the original mosaic decoration of Amalfi's Norman Cathedral. The mosaic ambos in the churches of Ravello prove that mosaic art was widespread in Southern Italy during the 11th–13th centuries.

Questions and answers:
['
Q: What region of italy was part of the Norman empire?
A: Southern', '
Q: The only surviving mosaic from Norman held souther Italy is what?
A: pavement of the Otranto Cathedral', '
Q: The mosaics in churches of Ravello prove what?
A: mosaic art was widespread', '
Q: What year were the mosaic pavements installed at the Otranto Cathedral?
A: 1166', "
Q: What survives from the mosaics of Amalfi's Norman Cathedral?
A: Only fragments"]