wanyu/IteraTeR_v2 huggingface dataset:
Original:  "The principle of similitude . "  Nature 95.66 (1915): 591. URL
Revised:  "The principle of similitude . " Nature 95.66 (1915): 591
Edit intent: coherence
Original:  There was a group of artists whose work in plumbago is remarkable for their exquisite portraits drawn with finely pointed pieces of graphite and upon vellum, often prepared as the basis of an engraving.
Revised:  There was a group of artists whose work in plumbago is remarkable for their portraits drawn with finely pointed pieces of graphite and upon vellum, often prepared as the basis of an engraving.
Edit intent: clarity
Original:  There was a group of artists whose work in plumbago is remarkable for their exquisite portraits drawn with finely pointed pieces of graphite and upon vellum, often prepared as the basis of an engraving.
Revised:  There was a group of artists whose work in plumbago is remarkable for their exquisite portraits drawn with finely pointed pieces of graphite and on vellum. Initially these works were often prepared as the basis of an engraving.
Edit intent: clarity
Original: Artists in plumbago One of the earliest of this group of workers was Simon Van de Pass (1595-1647), and in all probability his pencil drawings were  either for reproduction on silver tablets or counters or for engraved plates.
Revised: Early artists in plumbago One of the earliest of this group of workers was Simon Van de Pass (1595-1647), and in all probability his pencil drawings were either for reproduction on silver tablets or counters or for engraved plates.
Edit intent: clarity
Original: Artists in plumbago One of the earliest of this group of workers was Simon Van de Pass (1595-1647), and in all probability his pencil drawings were  either for reproduction on silver tablets or counters or for engraved plates.
Revised: Artists in plumbago One of the earliest of this group of workers was Simon Van de Pass (1595-1647), and his pencil drawings were either for reproduction on silver tablets or counters or for engraved plates.
Edit intent: coherence
Original: Artists in plumbago One of the earliest of this group of workers was Simon Van de Pass (1595-1647), and in all probability his pencil drawings were  either for reproduction on silver tablets or counters or for engraved plates.
Revised: Artists in plumbago One of the earliest of this group of workers was Simon Van de Pass (1595-1647), and in all probability his pencil drawings were probably either for reproduction on silver tablets or counters or for engraved plates.
Edit intent: coherence
Original:  A very  few pencil portraits by Abraham Blooteling, the Dutch engraver, have been preserved, which appear to have been first sketches, from which plates were afterwards engraved.
Revised:  A very A few pencil portraits by Abraham Blooteling, the Dutch engraver, have been preserved, which appear to have been first sketches, from which plates were afterwards engraved.
Edit intent: fluency
Original:  David Loggan (1635-1700), a pupil of Van de Pass, there also remain a few portraits, as a rule drawn on vellum and executed with the utmost dexterityand with marvellous minuteness, the lines expressing the intricacies of a lace ruffle or the curls of a wig being perfectly rendered .
Revised:  David Loggan (1635-1700), a pupil of Van de Pass, also left a few portraits, as a rule drawn on vellum and executed with the utmost dexterityand with marvellous minuteness, the lines expressing the intricacies of a lace ruffle or the curls of a wig being perfectly rendered .
Edit intent: clarity
Original:  David Loggan (1635-1700), a pupil of Van de Pass, there also remain a few portraits, as a rule drawn on vellum and executed with the utmost dexterityand with marvellous minuteness, the lines expressing the intricacies of a lace ruffle or the curls of a wig being perfectly rendered .
Revised:  David Loggan (1635-1700), a pupil of Van de Pass, there also remain a few portraits, as a rule drawn on vellum and executed with dexterity .
Edit intent: clarity
Original:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Revised:  These works were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Edit intent: clarity
Original:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Revised:  It is evident that these were not always prepared for engraving . There is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Edit intent: coherence
Original:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Revised:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Edit intent: clarity
Original:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Revised:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth , and which went to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Edit intent: coherence
Original:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Revised:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Oliver Cromwell which was in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Edit intent: clarity
Original:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam , while several others belong to Lord Caledon, and there are no engravings corresponding to these.
Revised:  It is evident that these were not always prepared for engraving , because there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth and now belongs to the Duke of Richmond, and a similar portrait of Cromwell in the possession of Lord Verulam ; and there are no engravings corresponding to these.
Edit intent: coherence
Original:  On the other hand, a large drawing by Loggan in the writers collection, representing Charles II, is the sketch for the finished engraving and bears a declaration to that effect.
Edit intent: coherence
Original:   An artist who is better known to the general collector is William Faithorne (1616-1691).
Revised:  Later works An artist who is better known to the general collector is William Faithorne (1616-1691).
Edit intent: clarity
Original:  Other notable exponents of this delightful art were Thomas Worlidge (1700-1766), F. Steele (c. 1714), W. Robins (c. 1730), G. A. Wolffgang (1692-1775), George Vertue the engraver (1684-1756), Johann Zoffany (1733181 o), and the Swede, Charles Bancks (c. 1748).
Revised:  Other notable exponents of this art were Thomas Worlidge (1700-1766), F. Steele (c. 1714), W. Robins (c. 1730), G. A. Wolffgang (1692-1775), George Vertue the engraver (1684-1756), Johann Zoffany (1733181 o), and the Swede, Charles Bancks (c. 1748).
Edit intent: clarity
Original: Later works An artist who is better known to the general collector is William Faithorne (1616-1691) .
Revised: Later works William Faithorne (1616-1691) .
Edit intent: clarity
Original:  He was the pupil of the engraver Robert Peake the Younger, but derived much of his skill from the time he spent with  Nanteuil, whose involved minute style he closely followed, triumphing over technical difficulties with great success .
Revised:  He was the pupil of the engraver Robert Peake the Younger, but derived much of his skill from the time he spent with Robert Nanteuil, whose involved minute style he closely followed, triumphing over technical difficulties with great success .
Edit intent: fluency
Original:  He was the pupil of the engraver Robert Peake the Younger, but derived much of his skill from the time he spent with  Nanteuil, whose involved minute style he closely followed, triumphing over technical difficulties with great success .
Revised:  He was the pupil of the engraver Robert Peake the Younger, but derived much of his skill from the time he spent with Nanteuil, whose style he followed .
Edit intent: clarity
Original:  There are important drawings by him in the Bodleian  , at Welbeck Abbey and at Montagu House, and two fine portraits in the British Museum.
Revised:  There are drawings by him in the Bodleian , at Welbeck Abbey and at Montagu House, and two fine portraits in the British Museum.
Edit intent: clarity
Original:  Thomas Forster (c. 1695-1712) was one of the greatest draughtsmen in this particular form of portraiture .
Revised:  Thomas Forster (c. 1695-1712) was one of the major draughtsmen in this particular form of portraiture .
Edit intent: clarity
Original:  Thomas Forster (c. 1695-1712) was one of the greatest draughtsmen in this particular form of portraiture .
Revised:  Thomas Forster (c. 1695-1712) was one of the greatest draughtsmen in this form of portraiture .
Edit intent: clarity
Original:  His work can be studied at Welbeck Abbey, in the Holburne Museum at Bath, in the Victoria and Albert Museum and elsewhere.
Revised:  His work was at Welbeck Abbey, in the Holburne Museum at Bath, in the Victoria and Albert Museum and elsewhere.
Edit intent: clarity
Original:  Two other Englishmen should be referred to, Robert and George White,  father and son.
Revised:  Robert and George White, father and son.
Edit intent: coherence
Original:  These three men, Forster and the two Whites , carefully signed their drawings and dated them.
Revised:  These three men, Forster and the two Whites signed their drawings and dated them.
Edit intent: clarity
Original:  By Robert White there are remarkable portraits of Bunyan and Sir Matthew Hale in the British Museum, and his own portrait at Welbeck;
Revised:  By Robert White there are portraits of John Bunyan and Sir Matthew Hale in the British Museum, and his own portrait at Welbeck;
Edit intent: clarity
Original:  and by him and his son there are other drawings in private collections , depicting Sir Godfrey Kneller, Archbishop Tenison and others.
Revised:  and by him and his son there are other drawings , depicting Sir Godfrey Kneller, Archbishop Tenison and others.
Edit intent: clarity
Original:  The son was the greater artistand a famous mezzotinter .
Revised:  The son was the more significant artist, known for mezzotints .
Edit intent: clarity
Original:  The portrait painter Jonathan Richardson (1665-1745) executed many fine drawings in pencil, examples of which can be seen in the British Museum.
Revised:  The portrait painter Jonathan Richardson (1665-1745) executed many drawings in pencil, examples of which can be seen in the British Museum.
Edit intent: clarity
Original:  One of the best of these plumbago draughtsmen was a Scotsman, whose work is of the utmost rarity, David Paton , who worked in 1670.
Revised:  The Scot David Paton was working in 1670.
Edit intent: clarity
Original:  The chief of his drawings belong to the Earl of Dysart and are at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Revised:  Most of his drawings belong to the Earl of Dysart and are at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Edit intent: coherence
Original:  The chief of his drawings belong to the Earl of Dysart and are at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Revised:  The chief of his drawings belonged to the Earl of Dysart and are at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Edit intent: fluency
Original:  The chief of his drawings belong to the Earl of Dysart and are at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Revised:  The chief of his drawings belong to the Earl of Dysart and were at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Edit intent: fluency
Original:  The chief of his drawings belong to the Earl of Dysart and are at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Revised:  The chief of his drawings belong to the Earl of Dysart and are at Ham House ; examples of his portraiture are in the possession of the Daizell family.
Edit intent: coherence
Original:  The chief of his drawings belong to the Earl of Dysart and are at Ham House , and two examples of his portraiture are in the possession of the Daizell family.
Revised:  The chief of his drawings belong to the Earl of Dysart and are at Ham House , and two examples of his portraiture were in the possession of the Daizell family.
Edit intent: style
Original:  Of Patons history nothing is known save that he was a Catholic who worked for more than one Dominican house, a devoted adherent of the Stuart cause, and was attached to the court of Charles II, when the king was in Scotland .
Revised:  Paton was attached to the court of Charles II, when the king was in Scotland .
Edit intent: clarity
Original:  At that time he drew his remarkable portrait of the King now at Ham House .
Revised:  At that time he drew his portrait of the King now at Ham House .
Edit intent: clarity
Original:  At that time he drew his remarkable portrait of the King now at Ham House .
Revised:  At that time he drew his remarkable portrait of the King .
Edit intent: clarity
Original:  There are drawings of the same character as his, the work of George Glover (d. 1618) and Thomas Cecill ( ft . 1630), but they are of extraordinary rarity and were evidently first studies for engravings.
Revised:  There are drawings of the same character as his, the work of George Glover (d. 1618) and Thomas Cecill ( fl . 1630), but they are of extraordinary rarity and were evidently first studies for engravings.
Edit intent: fluency
Original:  There are drawings of the same character as his, the work of George Glover (d. 1618) and Thomas Cecill ( ft . 1630), but they are of extraordinary rarity and were evidently first studies for engravings.
Revised:  There are drawings of the same character as his, the work of George Glover (d. 1618) and Thomas Cecill ( ft . 1630), but they were evidently studies for engravings.
Edit intent: clarity
Original:  Of Glovers work the only signed example known is in the writers collection.
Edit intent: clarity
Original:  A Swiss artist, Joseph Werner (b. 1637) or Waerner, drew well in pencil, adopting brown paper as the material upon which his best drawings were done, and in some cases heightening them with touches of white paint.
Revised:  A Swiss artist, Joseph Werner (b. 1637) drew in pencil, adopting brown paper as the material upon which his best drawings were done, and in some cases heightening them with touches of white paint.
Edit intent: clarity
Original:  A Swiss artist, Joseph Werner (b. 1637) or Waerner, drew well in pencil, adopting brown paper as the material upon which his best drawings were done, and in some cases heightening them with touches of white paint.
Revised:  A Swiss artist, Joseph Werner (b. 1637) or Waerner, drew well in pencil, adopting brown paper as the material on which his best drawings were done, and in some cases heightening them with touches of white paint.
Edit intent: fluency
Original:  The most notable of his portraits is one which is in the collection at Welbeck Abbey.
Edit intent: coherence
Original:  The later men, Hone, Grimaldi, Lens and Downman, also drew finely in plumbago.
Revised:  Later miniature artists, including Nathaniel Hone, Grimaldi, Lens and Downman, also drew finely in plumbago.
Edit intent: clarity
Original:  The later men, Hone, Grimaldi, Lens and Downman, also drew finely in plumbago.
Revised:  The later men, Hone, Grimaldi, Bernard Lens and John Downman, also drew finely in plumbago.
Edit intent: clarity
Original:  The later men, Hone, Grimaldi, Lens and Downman, also drew finely in plumbago.
Revised:  The later men, Hone, Grimaldi, Lens and Downman, also drew in plumbago.
Edit intent: clarity
Original:  Other notable exponents of this art were Thomas Worlidge (1700-1766), F. Steele (c. 1714), W. Robins (c. 1730), G. A. Wolffgang (1692-1775), George Vertue the engraver (1684-1756), Johann Zoffany ( 1733181 o ), and the Swede, Charles Bancks (c. 1748).
Revised:  Other exponents of this art were Thomas Worlidge (1700-1766), F. Steele (c. 1714), W. Robins (c. 1730), G. A. Wolffgang (1692-1775), George Vertue the engraver (1684-1756), Johann Zoffany ( 1733181 o ), and the Swede, Charles Bancks (c. 1748).
Edit intent: clarity
Original:  The former (1645-1704) was a pupil of Loggan and a prolific engraver, and most of his drawings , executed on vellum , were for the purpose of engraving.
Revised:  The former (1645-1704) was a pupil of Loggan and a prolific engraver, and most of his drawings executed on vellum , were for the purpose of engraving.
Edit intent: fluency
Original:  The former (1645-1704) was a pupil of Loggan and a prolific engraver, and most of his drawings , executed on vellum , were for the purpose of engraving.
Revised:  The former (1645-1704) was a pupil of Loggan and a prolific engraver, and most of his drawings , executed on vellum were for the purpose of engraving.
Edit intent: fluency
Original: Later works William Faithorne (1616-1691) was the pupil of the engraver Robert Peake the Younger, but derived much of his skill from the time he spent with Robert Nanteuil, whose style he followed.
Revised: Later works William Faithorne (1616-1691) derived much of his skill from the time he spent with Robert Nanteuil, whose style he followed.
Edit intent: coherence
Original: The two John Fabers, John Faber Senior (c.1660-1721) and John Faber Junior (c.1684 – 1756 ), were Dutch;
Revised: The two John Fabers, John Faber Senior (c.1660-1721) and John Faber Junior (c.1684 -1756 ), were Dutch;
Edit intent: fluency
Original: Thomas Forster, worked 1690-1717 , Portrait of Lady Anne Churchill, Dated 1700, Graphite on vellum Museum no.
Revised: Thomas Forster, worked 1690–1717 , Portrait of Lady Anne Churchill, Dated 1700, Graphite on vellum Museum no.
Edit intent: fluency
Original:  David Loggan ( 1635-1700 ), a pupil of Van de Pass, also left a few portraits, as a rule drawn on vellum and executed with dexterity.
Revised:  David Loggan ( 1635–1700 ), a pupil of Van de Pass, also left a few portraits, as a rule drawn on vellum and executed with dexterity.
Edit intent: fluency
Original:  Later works William Faithorne ( 1616-1691 ) derived much of his skill from the time he spent with Robert Nanteuil, whose style he followed.
Revised:  Later works William Faithorne ( 1616–1691 ) derived much of his skill from the time he spent with Robert Nanteuil, whose style he followed.
Edit intent: fluency
Original:  Thomas Forster (c. 1695-1712 ) was one of the major draughtsmen in this form of portraiture, on vellum and on paper.
Revised:  Thomas Forster (c. 1695–1712 ) was one of the major draughtsmen in this form of portraiture, on vellum and on paper.
Edit intent: fluency
Original:  George White (c. 1684-1732 ) was taught by his father, and finished some of his father's plates.
Revised:  George White (c. 1684–1732 ) was taught by his father, and finished some of his father's plates.
Edit intent: fluency
Original:  The two John Fabers, John Faber Senior (c.1660 -1721 ) and John Faber Junior ( 1660-1721 ), were Dutch;
Revised:  The two John Fabers, John Faber Senior (c.1660 –1721 ) and John Faber Junior ( 1660-1721 ), were Dutch;
Edit intent: fluency
Original:  The two John Fabers, John Faber Senior (c.1660 -1721 ) and John Faber Junior ( 1660-1721 ), were Dutch;
Revised:  The two John Fabers, John Faber Senior (c.1660 -1721 ) and John Faber Junior ( 1660–1721 ), were Dutch;
Edit intent: fluency
Original:  The portrait painter Jonathan Richardson ( 1665-1745 ) executed many drawings in pencil, examples of which can be seen in the British Museum.
Revised:  The portrait painter Jonathan Richardson ( 1665–1745 ) executed many drawings in pencil, examples of which can be seen in the British Museum.
Edit intent: fluency
Original:  Initially these works were often prepared as the basis of an engraving.
Revised:  These works were initially prepared as the basis of an engraving.
Edit intent: clarity
Original:  As time went by they would be produced as works in their own right.
Revised:  Eventually they would be produced as works in their own right.
Edit intent: clarity
Original:  Title of National Hero of Indonesia had pinned him to the 9 November 2005.
Revised:  On 9 November 2005.
Edit intent: coherence
Original: Bagindo Azizchan ( Jawi: ;
Revised: Bagindo Azizchan ( 
Edit intent: coherence
Original:  Dr. Oluyinka Olutoye, alongside Darrell Cass, from the Texas Children's Fetal Centre, removed a 16 week old fetus from her mothers womb in order to perform surgery upon a spinal tumor her mother had.
Revised:  Dr. Oluyinka Olutoye, alongside Darrell Cass, from the Texas Children's Fetal Centre, removed a 16 week old fetus from her mothers womb in order to perform surgery upon a spinal tumor she had.
Edit intent: fluency