romikgosai/squad_modified huggingface dataset:
The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

Questions and answers:
['
Q: What is the distinguiushing visual design feature of French cathedrals?
A: their impression of verticality', '
Q: How many portals are typically found on the west front of French cathedrals?
A: three portals', '
Q: How many towers are typically found on the west front of French cathedrals?
A: two large towers', '
Q: What shape does the east end of French chapels typically have?
A: The east end is polygonal', '
Q: What do many major churches in Southern France often lack?
A: transepts']
The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

Questions and answers:
['
Q: What is the unique design feature of English cathedrals?
A: their extreme length', '
Q: What type of transepts do English cathedrals often feature? 
A: double transepts', '
Q: What size of window is typically featured on the west end of English cathedrals?
A: very large', '
Q: Where are rose windows used on English cathedrals?
A: the transept gables', '
Q: On English cathedrals, where is a tower almost always found?
A: at the crossing']
Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Questions and answers:
['
Q: In Germany, Poland and Austria Romanesque architecture is defined by its massive size and what other design element?
A: modular nature', '
Q: What design style does Romanesque architecture in Germany, Poland, and Austria normally follow?
A: the French formula', '
Q: What does the eastern end of German Romanesque cathedrals typically emulate?
A: follows the French form', '
Q: What is the distinguishing design element in German Gothic cathedrals?
A: their breadth and openness', '
Q: What are hall churches in German cathedrals known as?
A: Hallenkirchen']
The distinctive characteristic of Gothic cathedrals of the Iberian Peninsula is their spatial complexity, with many areas of different shapes leading from each other. They are comparatively wide, and often have very tall arcades surmounted by low clerestories, giving a similar spacious appearance to the 'Hallenkirche of Germany, as at the Church of the Batalha Monastery in Portugal. Many of the cathedrals are completely surrounded by chapels. Like English cathedrals, each is often stylistically diverse. This expresses itself both in the addition of chapels and in the application of decorative details drawn from different sources. Among the influences on both decoration and form are Islamic architecture and, towards the end of the period, Renaissance details combined with the Gothic in a distinctive manner. The West front, as at Leon Cathedral, typically resembles a French west front, but wider in proportion to height and often with greater diversity of detail and a combination of intricate ornament with broad plain surfaces. At Burgos Cathedral there are spires of German style. The roofline often has pierced parapets with comparatively few pinnacles. There are often towers and domes of a great variety of shapes and structural invention rising above the roof.

Questions and answers:
['
Q: What is the distinctive design element of Gothic cathedrals of the Iberian Peninsula? 
A: their spatial complexity', '
Q: What size are the arcades of Gothic cathedrals of the Iberian Peninsula?
A: very tall arcades', '
Q: What type of architecture is a prominent influence on the design and form of Gothic cathedrals from the Iberian Peninsula? 
A: Islamic architecture', '
Q: What type of West front does the Leon Cathedral resemble?
A: a French west front', '
Q: What style are the spires at Burgos Cathedral?
A: German style']
The distinctive characteristic of Italian Gothic is the use of polychrome decoration, both externally as marble veneer on the brick façade and also internally where the arches are often made of alternating black and white segments, and where the columns may be painted red, the walls decorated with frescoes and the apse with mosaic. The plan is usually regular and symmetrical, Italian cathedrals have few and widely spaced columns. The proportions are generally mathematically equilibrated, based on the square and the concept of "armonìa", and except in Venice where they loved flamboyant arches, the arches are almost always equilateral. Colours and moldings define the architectural units rather than blending them. Italian cathedral façades are often polychrome and may include mosaics in the lunettes over the doors. The façades have projecting open porches and occular or wheel windows rather than roses, and do not usually have a tower. The crossing is usually surmounted by a dome. There is often a free-standing tower and baptistry. The eastern end usually has an apse of comparatively low projection. The windows are not as large as in northern Europe and, although stained glass windows are often found, the favourite narrative medium for the interior is the fresco.

Questions and answers:
['
Q: What is the unique characteristic of Italian Gothic design?
A: the use of polychrome decoration', '
Q: What color are the columns of Italian Gothic cathedrals often painted?
A: the columns may be painted red', '
Q: What type of arches do they love to use in Venice?
A: they loved flamboyant arches', '
Q: Instead of rose windows, what type of windows do Italian cathedral facades usually feature?
A: occular or wheel windows', '
Q: What is the preferred narrative medium for the interior of Italian cathedrals?
A: the fresco']
The Palais des Papes in Avignon is the best complete large royal palace, alongside the Royal palace of Olite, built during the 13th and 14th centuries for the kings of Navarre. The Malbork Castle built for the master of the Teutonic order is an example of Brick Gothic architecture. Partial survivals of former royal residences include the Doge's Palace of Venice, the Palau de la Generalitat in Barcelona, built in the 15th century for the kings of Aragon, or the famous Conciergerie, former palace of the kings of France, in Paris.

Questions and answers:
['
Q: Who was the Royal palace of Olite built for?
A: the kings of Navarre', '
Q: Who was the Malbork Castle built for?
A: the master of the Teutonic order', '
Q: What type of Gothic architecture is the Malbork Castle an example of?
A: Brick Gothic architecture', '
Q: What is the name of the royal residence built for the kings of France in Paris?
A: the famous Conciergerie', '
Q: When was the Palau de la Generalitat in Barcelona constructed?
A: built in the 15th century']
Secular Gothic architecture can also be found in a number of public buildings such as town halls, universities, markets or hospitals. The Gdańsk, Wrocław and Stralsund town halls are remarkable examples of northern Brick Gothic built in the late 14th centuries. The Belfry of Bruges or Brussels Town Hall, built during the 15th century, are associated to the increasing wealth and power of the bourgeoisie in the late Middle Ages; by the 15th century, the traders of the trade cities of Burgundy had acquired such wealth and influence that they could afford to express their power by funding lavishly decorated buildings of vast proportions. This kind of expressions of secular and economic power are also found in other late mediaeval commercial cities, including the Llotja de la Seda of Valencia, Spain, a purpose built silk exchange dating from the 15th century, in the partial remains of Westminster Hall in the Houses of Parliament in London, or the Palazzo Pubblico in Siena, Italy, a 13th-century town hall built to host the offices of the then prosperous republic of Siena. Other Italian cities such as Florence (Palazzo Vecchio), Mantua or Venice also host remarkable examples of secular public architecture.

Questions and answers:
['
Q: What is an example of secular Northern Brick Gothic architecture from the 14th century?
A: Stralsund town halls', '
Q: When was Brussels Town Hall built?
A: built during the 15th century', '
Q: What is the name of the secular building in Spain which was constructed for the purpose of silk exchange?
A: the Llotja de la Seda of Valencia', '
Q: What is the name of the 13th-century town hall constructed to host the offices of the republic of Siena?
A: the Palazzo Pubblico', '
Q: Impressive public secular architecture can also be found in what other Italian city?
A: Florence']
By the late Middle Ages university towns had grown in wealth and importance as well, and this was reflected in the buildings of some of Europe's ancient universities. Particularly remarkable examples still standing nowadays include the Collegio di Spagna in the University of Bologna, built during the 14th and 15th centuries; the Collegium Carolinum of the University of Prague in Bohemia; the Escuelas mayores of the University of Salamanca in Spain; the chapel of King's College, Cambridge; or the Collegium Maius of the Jagiellonian University in Kraków, Poland.

Questions and answers:
['
Q: In what era had university towns grown in wealth and importance?
A: the late Middle Ages', '
Q: What is the name of the university building in Bologna, built in the 14th and 15th centuries?
A: the Collegio di Spagna', '
Q: What is the name of the building at University of Prague in Bohemia?
A: the Collegium Carolinum', '
Q: What is the name of the secular building at the University of Salamanca in Spain? 
A: the Escuelas mayores', '
Q: What is the name of the secular building at the Jagiellonian University in Kraków, Poland?
A: the Collegium Maius']
Other cities with a concentration of secular Gothic include Bruges and Siena. Most surviving small secular buildings are relatively plain and straightforward; most windows are flat-topped with mullions, with pointed arches and vaulted ceilings often only found at a few focal points. The country-houses of the nobility were slow to abandon the appearance of being a castle, even in parts of Europe, like England, where defence had ceased to be a real concern. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.

Questions and answers:
['
Q: What is one city with an accumulation of secular Gothic structures? 
A: Bruges', '
Q: What is another city with an accumulation of secular Gothic structures? 
A: Siena', '
Q: What style are most windows on secular Gothic structures?
A: flat-topped with mullions', '
Q: Where are pointed arches and vaulted ceilings found on most secular Gothic structures?
A: a few focal points', '
Q: What is the name of the surviving monastic building in England? 
A: Mont Saint-Michel']
In 1663 at the Archbishop of Canterbury's residence, Lambeth Palace, a Gothic hammerbeam roof was built to replace that destroyed when the building was sacked during the English Civil War. Also in the late 17th century, some discrete Gothic details appeared on new construction at Oxford University and Cambridge University, notably on Tom Tower at Christ Church, Oxford, by Christopher Wren. It is not easy to decide whether these instances were Gothic survival or early appearances of Gothic revival.

Questions and answers:
["
Q: What is the name of the Archbishop of Canterbury's residence?
A: Lambeth Palace", "
Q: In what year was a Gothic hammerbeam roof installed on the Archbishop of Canterbury's residence?
A: In 1663", '
Q: In what century were distinct Gothic details used on new construction at Oxford and Cambridge?
A: the late 17th century', '
Q: Who used Gothic details in construction of Tom Tower, Oxford?
A: Christopher Wren']
In England, partly in response to a philosophy propounded by the Oxford Movement and others associated with the emerging revival of 'high church' or Anglo-Catholic ideas during the second quarter of the 19th century, neo-Gothic began to become promoted by influential establishment figures as the preferred style for ecclesiastical, civic and institutional architecture. The appeal of this Gothic revival (which after 1837, in Britain, is sometimes termed Victorian Gothic), gradually widened to encompass "low church" as well as "high church" clients. This period of more universal appeal, spanning 1855–1885, is known in Britain as High Victorian Gothic.

Questions and answers:
['
Q: When was neo-Gothic popularized by influential figures?
A: during the second quarter of the 19th century', '
Q: In Britain after 1837, what was the Gothic revival known as?
A: Victorian Gothic', '
Q: During what years was the High Victorian Gothic period in Britain?
A: 1855–1885', '
Q: What movement was responsible for the philosophy which led to the revival of Anglo Catholic ideas? 
A: the Oxford Movement', '
Q: Besides ecclesiastical and civic architecture, what other style of architecture did influential figures of the 19th century prefer to use Victorian Gothic for?
A: institutional architecture']
The Houses of Parliament in London by Sir Charles Barry with interiors by a major exponent of the early Gothic Revival, Augustus Welby Pugin, is an example of the Gothic revival style from its earlier period in the second quarter of the 19th century. Examples from the High Victorian Gothic period include George Gilbert Scott's design for the Albert Memorial in London, and William Butterfield's chapel at Keble College, Oxford. From the second half of the 19th century onwards it became more common in Britain for neo-Gothic to be used in the design of non-ecclesiastical and non-governmental buildings types. Gothic details even began to appear in working-class housing schemes subsidised by philanthropy, though given the expense, less frequently than in the design of upper and middle-class housing.

Questions and answers:
['
Q: Who was the exterior architect of the Houses of Parliament?
A: Sir Charles Barry', '
Q: Who was the interior architect of the Houses of Parliament?
A: Augustus Welby Pugin', '
Q: What style of architecture does the Houses of Parliament exemplify?
A: the Gothic revival style', '
Q: Who designed the Albert Memorial in London?
A: George Gilbert Scott', '
Q: Who designed the chapel at Keble College, Oxford?
A: William Butterfield']
In France, simultaneously, the towering figure of the Gothic Revival was Eugène Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclopédie médiévale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame de Paris, where many of whose most "Gothic" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.

Questions and answers:
['
Q: Who was the main figure of the Gothic Revival in France?
A: Eugène Viollet-le-Duc', '
Q: What famous French cathedral was restored and reconstructed by Viollet-le-Duc?
A: the Abbey of Saint-Denis', '
Q: What modern building material did Viollet-le-Duc teach reform Gothic designers to work with?
A: cast iron', '
Q: In what fortified city in Southern France did Viollet-le-Duc recreate historical Gothic constructions?
A: Carcassonne', '
Q: What other famous French cathedral did Viollet-le-Duc work on?
A: Notre Dame de Paris']
The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.

Questions and answers:
['
Q: Name the 8 peopl who began the movement
A: Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris.', '
Q: Which person  was the most influential in beginning the movement with is three dimensional forms?
A: Paul Cézanne', "
Q: What year's were Cezannes painting's displayed at Salon d'Automne? Not including the retrospectives.
A: 1905 and 1906"]
In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Questions and answers:
['
Q: What were the three offshoots of Cubism formed in France?
A: Orphism, Abstract art and later Purism', '
Q: What were the other offshoots formed in countries other than France?
A: Futurism, Suprematism, Dada, Constructivism and De Stijl', '
Q: Which offshoot had little in common with Cubism?
A: Futurist', '
Q: Which offshoot of cubism was influenced by Picasso? 
A: Constructivism']
Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.

Questions and answers:
['
Q: Between what years did cubism begin? 
A: 1907 and 1911', '
Q: In the spring of what year did the first organized exhibition by cubist appear?
A: 1911', '
Q: What was the name of the room that the first exhibition of Cubists took place?
A: Salle 41', '
Q: Who mentioned the landscapes made by Picasso in the first Cubist paintings? 
A: Gertrude Stein', '
Q: In what city did the first exhibition of Cubists take place?
A: Paris']
Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.

Questions and answers:
['
Q: What was the first phase of Cubism known as? 
A: Analytic Cubism', '
Q: Who coined the phrase Analytic Cubsim? 
A: Juan Gris', '
Q: What was the second phase of Cubism called? 
A: Synthetic Cubism', '
Q: From what years did High Cubism take place? 
A: 1909 to 1914', '
Q: From what years did Late Cubism take place? 
A: 1914 to 1921']