romikgosai/squad_modified_2 huggingface dataset:
In 1913 the Zliten mosaic, a Roman mosaic famous for its many scenes from gladiatorial contests, hunting and everyday life, was discovered in the Libyan town of Zliten. In 2000 archaeologists working in Leptis Magna, Libya, uncovered a 30 ft length of five colorful mosaics created during the 1st or 2nd century AD. The mosaics show a warrior in combat with a deer, four young men wrestling a wild bull to the ground, and a gladiator resting in a state of fatigue, staring at his slain opponent. The mosaics decorated the walls of a cold plunge pool in a bath house within a Roman villa. The gladiator mosaic is noted by scholars as one of the finest examples of mosaic art ever seen — a "masterpiece comparable in quality with the Alexander Mosaic in Pompeii."

Q1: What scenes are depicted on the Zliten mosaic?
A1: gladiatorial contests
Q2: When was the Zliten mosaic discovered?
A2: 1913
Q3: How long was the mural discovered in Libya?
A3: 30 ft
Q4: The mosaics uncovered in Libya were from which century?
A4: 1st or 2nd century AD
Q5: The gladiator mosaic is on par with the Alexander mosaic in which city?
A5: Pompeii
With the building of Christian basilicas in the late 4th century, wall and ceiling mosaics were adopted for Christian uses. The earliest examples of Christian basilicas have not survived, but the mosaics of Santa Constanza and Santa Pudenziana, both from the 4th century, still exist. The winemaking putti in the ambulatory of Santa Constanza still follow the classical tradition in that they represent the feast of Bacchus, which symbolizes transformation or change, and are thus appropriate for a mausoleum, the original function of this building. In another great Constantinian basilica, the Church of the Nativity in Bethlehem the original mosaic floor with typical Roman geometric motifs is partially preserved. The so-called Tomb of the Julii, near the crypt beneath St Peter's Basilica, is a 4th-century vaulted tomb with wall and ceiling mosaics that are given Christian interpretations. The Rotunda of Galerius in Thessaloniki, converted into a Christian church during the course of the 4th century, was embellished with very high artistic quality mosaics. Only fragments survive of the original decoration, especially a band depicting saints with hands raised in prayer, in front of complex architectural fantasies.

Q1: Around what century were mosaics adapted for Christian churches?
A1: the late 4th century
Q2: What Christian church besides the Santa Costanza was built in the 4th century?
A2: Santa Pudenziana
Q3: What was the original function of the Santa Costanza church?
A3: a mausoleum
Q4: In which basilica is the Tomb of Julii?
A4: St Peter's Basilica
Q5: Under what period were the 4th century churches built?
A5: Constantinian
In the following century Ravenna, the capital of the Western Roman Empire, became the center of late Roman mosaic art (see details in Ravenna section). Milan also served as the capital of the western empire in the 4th century. In the St Aquilinus Chapel of the Basilica of San Lorenzo, mosaics executed in the late 4th and early 5th centuries depict Christ with the Apostles and the Abduction of Elijah; these mosaics are outstanding for their bright colors, naturalism and adherence to the classical canons of order and proportion. The surviving apse mosaic of the Basilica of Sant'Ambrogio, which shows Christ enthroned between Saint Gervasius and Saint Protasius and angels before a golden background date back to the 5th and to the 8th century, although it was restored many times later. The baptistery of the basilica, which was demolished in the 15th century, had a vault covered with gold-leaf tesserae, large quantities of which were found when the site was excavated. In the small shrine of San Vittore in ciel d'oro, now a chapel of Sant'Ambrogio, every surface is covered with mosaics from the second half of the 5th century. Saint Victor is depicted in the center of the golden dome, while figures of saints are shown on the walls before a blue background. The low spandrels give space for the symbols of the four Evangelists.

Q1: Which city besides Ravenna served as the capital of the Western Roman Empire?
A1: Milan
Q2: What is the name of the mosaic in the Basilica of Sant'Ambrogio?
A2: apse
Q3: The shrine of San Vittore in ciel d'oro had mosaics from which century?
A3: the 5th century
Q4: Who do the mosaics at the the basilica of San Lorenzo depict as being abducted?
A4: Elijah
Q5: When was the baptistry at the Basilica of Sant'Ambrogio demolished?
A5: the 15th century
In the 5th-century Ravenna, the capital of the Western Roman Empire, became the center of late Roman mosaic art. The Mausoleum of Galla Placidia was decorated with mosaics of high artistic quality in 425–430. The vaults of the small, cross-shaped structure are clad with mosaics on blue background. The central motif above the crossing is a golden cross in the middle of the starry sky. Another great building established by Galla Placidia was the church of San Giovanni Evangelista. She erected it in fulfillment of a vow that she made having escaped from a deadly storm in 425 on the sea voyage from Constantinople to Ravenna. The mosaics depicted the storm, portraits of members of the western and eastern imperial family and the bishop of Ravenna, Peter Chrysologus. They are known only from Renaissance sources because almost all were destroyed in 1747.

Q1: In the 5th century what was the capital of the Western Roman Empire?
A1: Ravenna
Q2: What years was the Mausoleum of Galla Placidia decorated with mosaics?
A2: 425–430
Q3: What other famous landmark in Ravenna was established by Galla Placidia?
A3: the church of San Giovanni Evangelista
Q4: Why did Galla Placidia erect the church of San Giovanni Evangelista?
A4: fulfillment of a vow
Q5: When were most of the mosaics at the church of San Giovanni Evangelista destroyed?
A5: 1747
After 539 Ravenna was reconquered by the Romans in the form of the Eastern Roman Empire (Byzantine Empire) and became the seat of the Exarchate of Ravenna. The greatest development of Christian mosaics unfolded in the second half of the 6th century. Outstanding examples of Byzantine mosaic art are the later phase mosaics in the Basilica of San Vitale and Basilica of Sant'Apollinare Nuovo. The mosaic depicting Emperor Saint Justinian I and Empress Theodora in the Basilica of San Vitale were executed shortly after the Byzantine conquest. The mosaics of the Basilica of Sant'Apollinare in Classe were made around 549. The anti-Arian theme is obvious in the apse mosaic of San Michele in Affricisco, executed in 545–547 (largely destroyed; the remains in Berlin).

Q1: When was Ravenna conquered by the Eastern Roman Empire?
A1: After 539
Q2: When did the biggest achievement in Christian mosaics take place?
A2: the second half of the 6th century
Q3: What event led up to the creation of the amazing mosaics in in the Basilica of San Vitale?
A3: the Byzantine conquest
Q4: When were the mosaics at the Basilica of Sant'Apollinare created?
A4: 549
Q5: Where are the remains of the apse mosaic of San Michele?
A5: Berlin
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.

Q1: The floor mosaic in Butrint is how much older than that of the Baptistry?
A1: almost a generation
Q2: In what country is Butrint?
A2: Albania
Q3: What type of message was left on the mosaics at Butrint?
A3: prayer
Q4: The Vrina Plain basilica is in which city?
A4: Butrint
Q5: What was the mosaic at Butrint designed to portray?
A5: 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.

Q1: What was depicted on the Butrint mosaics in abundance?
A1: natural life
Q2: What do the katharos vase and vine refer to?
A2: the eucharist
Q3: What do peacocks represent in Christian symbolism?
A3: paradise and resurrection
Q4: What do most sea-creatures represent in Christina symbolism?
A4: baptism
Q5: What did deers or stags represent in Christian Symbolism?
A5: 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.

Q1: When did conditions become difficult for mosaic art in Rome?
A1: the Early Middle Ages
Q2: When was the mosaic of Sant'Agata dei Goti destroyed?
A2: 1589
Q3: What was similar between the three most important 5th century mosaics?
A3: iconography
Q4: When was the mosaic at Santa Sabina replaced with a fresco?
A4: 1559
Q5: Who was the artist that painted the fresco that replaced the mosaic at Santa Sobina?
A5: 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).

Q1: During which centuries did ROme fall under the influence of Byzantine art?
A1: the 7th–9th centuries
Q2: The lateran Palace was decorated with what?
A2: mosaics
Q3: What do most mosaics from the 7th-9th centuries have in common?
A3: They were all destroyed later
Q4: Which mosaic survived through the 9th century, and then had a copy made in the 18th?
A4: Triclinio Leoniano
Q5: When was the mosaic at the church of Santo Stefano del Cacco destroyed?
A5: 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).

Q1: When were the mosaics at the Great Palace of Constantinople commissioned?
A1: during Justinian's reign
Q2: What is considered the most important surviving mosaic of the Justinian age?
A2: The portrait of a moustached man
Q3: What was the small vaulted room in the Great Palace of Constantinople called?
A3: small sekreton
Q4: Vine Scroll motifs are classified under what kind of tradition?
A4: Classical
Q5: When were the mosaics at the church in Thessaloniki created?
A5: 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.

Q1: How many Byzantine mosaics survived past the 8th century?
A1: Very few
Q2: The mosaic in the church in Thessaloniki is know as what?
A2: Christ in majesty (or Ezekiel's Vision)
Q3: When were the panels in the Hagios Demetrios Church created?
A3: between 634 and 730
Q4: Why was Christ in majesty protected from the iconoclastic destruction?
A4: hidden behind mortar
Q5: What is common about the surviving mosaics from the 7th-9th centuries?
A5: 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).

Q1: What was the common mosaic theme of iconoclastic churches?
A1: gold mosaics with only one great cross
Q2: Why were mosaics destroyed in the iconoclastic era?
A2: condemned as idolatry
Q3: When did the Iconodules  change the cross in the Hagia Sophia?
A3: 787–797
Q4: When did the Hagia Irene adapt the iconoclastic era mosaics?
A4: after 740
Q5: When was the Dormition church destroyed?
A5: 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.

Q1: Where is the Nea Moni Monastery located?
A1: Chios
Q2: Who established the Nea Moni Monastery?
A2: Constantine Monomachos
Q3: When was the Nea Moni Monastery established?
A3: 1043–1056
Q4: When was the mosaic at the Nea Moni Monastery destroyed?
A4: 1822
Q5: The Nea Moni mosaics are more detailed than what what other famous mosaics?
A5: 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."

Q1: Who restored the Church of the Holy Sepulchre in the 1040's?
A1: Constantine Monomachos
Q2: Who left the only description of the mosaics at the Church of the Holy Sepulchre?
A2: the Russian abbot Daniel
Q3: What survives of the mosaics that adorned the walls and dome of the Church of the Holy Sepulchre?
A3: Nothing
Q4: Where did the Russian abbot Daniel travel in 1106-07?
A4: 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.

Q1: When were the Byzantine mosaics of the Hagia Sophia created?
A1: The 9th- and 10th-century
Q2: The tympana under the dome had images of whom displayed?
A2: prophets, saints and patriarchs
Q3: What does the Empress give to Christ as depicted by the mosaic?
A3: a bulging money sack
Q4: When did the Empress Zoe die?
A4: 1055
Q5: Who was depicted with the Empress Zoe on a panel in the gallery of the Hagia Sophia?
A5: 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.

Q1: Why are there so few surviving mosaics from the Komnenian period?
A1: accidents of survival
Q2: Where is the only existing 12th century mosaic in Constantinople?
A2: Hagia Sophia
Q3: The empress Eirene had what color hair?
A3: red
Q4: What deity does the 12th century mosaic in the Hagia Sophia depict?
A4: the Theotokos
Q5: The only surviving mosaic from the Komnenos dynasty outside Constantinople is in what church?
A5: 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.

Q1: How big were the tesserae in the Komnenian period miniature mosaic icons?
A1: 1 mm or less
Q2: What were the tesserae usually set in for miniature mosaic icons?
A2: wax or resin
Q3: The more humanistic conception of Christ appeared when?
A3: in the 12th century
Q4: What was the intended purpose of the miniature mosaic icons?
A4: 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.

Q1: When was the Church of the Holy Apostles built?
A1: 1310–14
Q2: Who removed the gold tesserae in the background of the mosaic at the Church of the Holy Apostles?
A2: some vandal
Q3: Where is the Theotokos Paregoritissa Church located?
A3: Arta
Q4: Who established the Theotokos Paregoritissa Church in 1294-96?
A4: the Despot of Epirus
Q5: The same team of mosaicists worked on the Church of the Holy Apostles in Thessaloniki as which other building?
A5: 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.

Q1: where is the greatest mosaic work of the renaissance?
A1: the Chora Church in Constantinople
Q2: How many mosaic panels from naos have survived?
A2: three
Q3: The panels of naos are only capped in importance by which other location?
A3: the Hagia Sophia
Q4: Who commissioned the mosaics at naos?
A4: Theodore Metochites
Q5: The panels from naos show what influence on Byzantine art.
A5: Italian trecento