Question: What parc naturel régional is located at this castle?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

Originally there was a stronghold in the place, built by the family of Hugues IV of Nordgau (fr), Count of Egisheim.
Built at the end of the 12th century, the Château de la Petite-Pierre is recorded from 1212. Count Hugo, either the son or grandson of the powerful Count of Blieskastel (fr), is held as the constructor. The fief was recognised as the "County of Lützelstein", within the German Holy Roman Empire, approximately at the same time.
The counts have used the title Graf von Lützelstein, later also Comte de Petite-Pierre, meaning basically the same, also Comte de Lunéville (in Lorraine), which might be due to a confusion of transferral of power at some point.
A probable, incomplete, order of the early counts of Lützelstein, as precise documentation is not at hand:
Hugo I of Blieskastel (d.a. 1220), Count of Lützelstein or Lunéville (or both), second son of Folmar I (d.a. 1179), Count of Blieskastel with Clementia of Metz. His brother Folmar II, Count of Blieskastel was married to Jutta, daughter of Simon I, Count of Saarbrücken. Hugo married Kunigunde, daughter of Konrad, Count of Kyrburg and Mathilde of Bar, and had Hugo II.
Hugo II of Blieskastel, Count of Lützelstein (1208? - a. 1246). Married Judith (Joathe) of Lorraine, daughter of Philippe, son of Frederick I, Duke of Lorraine ("Ferry").
Hugo III, Count of Lützelstein (Perhaps also Lunéville) (d.a. 1280/99), married Elisabeth (d.a. 1271), daughter of Simon III, Count of Saarbrücken. Probably also Elisabeth of Vinstingen, a grandniece of Simon.
In 1223, due to a conflict with the Bishop of Strasbourg, the counts of Parva Petra were forced to yield it as a fief to the bishop as an episcopal stronghold, under the bishop's reign.
In 1403, Friedrich of Lutzelstein died as the last was the last male heir of the castle. His uncle Bourcard/Burkhard II of Lutzelstein, Bishop of Strasbourg (in office 1393 - 1394), was one of the claimants, as well as Friedrich's sister, married to Johann of Leiningen. Burkhard (of Friedrich?) divided the property letting Palatine count Robert III, Holy Roman Emperor a fourth and the rest to his daughters. Sons of Burkhard and of the Leiningen family ruled for some time in Lützelstein. However the Palatine count Frederick I (1425 - 1476) seized it all in 1452/62 as the new holders died without legitimate heirs. In 1566, it became the residence of George John I, Count Palatine of Veldenz, who carried out major works. The French Army occupied the castle in 1677; in 1681 the county was joined with in France. Vauban was charged with improving the fortifications. In 1870 that the fortifications were removed.
Since 1977, the building has housed the administrative services of the Parc naturel régional (Natural Regional Park) of Vosges du Nord. In the multi-media exhibition there, a room is specifically devoted to the history of the castle with, in particular, a superb model of Staedtel, the fortified old town, according to plans of 1771, and an impressive sight of the castle's ancient cistern.
The fortified town, with the Saint-Louis chapel, the 15th-century church choir and the bastion tower protecting the cisterns, is closely linked to the castle.

Answer: vosges du nord


Question: What parc naturel régional is located at this castle?

Instruction: Using the provided image, obtain documents that address the subsequent question:

Originally there was a stronghold in the place, built by the family of Hugues IV of Nordgau (fr), Count of Egisheim.
Built at the end of the 12th century, the Château de la Petite-Pierre is recorded from 1212. Count Hugo, either the son or grandson of the powerful Count of Blieskastel (fr), is held as the constructor. The fief was recognised as the "County of Lützelstein", within the German Holy Roman Empire, approximately at the same time.
The counts have used the title Graf von Lützelstein, later also Comte de Petite-Pierre, meaning basically the same, also Comte de Lunéville (in Lorraine), which might be due to a confusion of transferral of power at some point.
A probable, incomplete, order of the early counts of Lützelstein, as precise documentation is not at hand:
Hugo I of Blieskastel (d.a. 1220), Count of Lützelstein or Lunéville (or both), second son of Folmar I (d.a. 1179), Count of Blieskastel with Clementia of Metz. His brother Folmar II, Count of Blieskastel was married to Jutta, daughter of Simon I, Count of Saarbrücken. Hugo married Kunigunde, daughter of Konrad, Count of Kyrburg and Mathilde of Bar, and had Hugo II.
Hugo II of Blieskastel, Count of Lützelstein (1208? - a. 1246). Married Judith (Joathe) of Lorraine, daughter of Philippe, son of Frederick I, Duke of Lorraine ("Ferry").
Hugo III, Count of Lützelstein (Perhaps also Lunéville) (d.a. 1280/99), married Elisabeth (d.a. 1271), daughter of Simon III, Count of Saarbrücken. Probably also Elisabeth of Vinstingen, a grandniece of Simon.
In 1223, due to a conflict with the Bishop of Strasbourg, the counts of Parva Petra were forced to yield it as a fief to the bishop as an episcopal stronghold, under the bishop's reign.
In 1403, Friedrich of Lutzelstein died as the last was the last male heir of the castle. His uncle Bourcard/Burkhard II of Lutzelstein, Bishop of Strasbourg (in office 1393 - 1394), was one of the claimants, as well as Friedrich's sister, married to Johann of Leiningen. Burkhard (of Friedrich?) divided the property letting Palatine count Robert III, Holy Roman Emperor a fourth and the rest to his daughters. Sons of Burkhard and of the Leiningen family ruled for some time in Lützelstein. However the Palatine count Frederick I (1425 - 1476) seized it all in 1452/62 as the new holders died without legitimate heirs. In 1566, it became the residence of George John I, Count Palatine of Veldenz, who carried out major works. The French Army occupied the castle in 1677; in 1681 the county was joined with in France. Vauban was charged with improving the fortifications. In 1870 that the fortifications were removed.
Since 1977, the building has housed the administrative services of the Parc naturel régional (Natural Regional Park) of Vosges du Nord. In the multi-media exhibition there, a room is specifically devoted to the history of the castle with, in particular, a superb model of Staedtel, the fortified old town, according to plans of 1771, and an impressive sight of the castle's ancient cistern.
The fortified town, with the Saint-Louis chapel, the 15th-century church choir and the bastion tower protecting the cisterns, is closely linked to the castle.

Answer: vosges du nord


Question: What parc naturel régional is located at this castle?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

Originally there was a stronghold in the place, built by the family of Hugues IV of Nordgau (fr), Count of Egisheim.
Built at the end of the 12th century, the Château de la Petite-Pierre is recorded from 1212. Count Hugo, either the son or grandson of the powerful Count of Blieskastel (fr), is held as the constructor. The fief was recognised as the "County of Lützelstein", within the German Holy Roman Empire, approximately at the same time.
The counts have used the title Graf von Lützelstein, later also Comte de Petite-Pierre, meaning basically the same, also Comte de Lunéville (in Lorraine), which might be due to a confusion of transferral of power at some point.
A probable, incomplete, order of the early counts of Lützelstein, as precise documentation is not at hand:
Hugo I of Blieskastel (d.a. 1220), Count of Lützelstein or Lunéville (or both), second son of Folmar I (d.a. 1179), Count of Blieskastel with Clementia of Metz. His brother Folmar II, Count of Blieskastel was married to Jutta, daughter of Simon I, Count of Saarbrücken. Hugo married Kunigunde, daughter of Konrad, Count of Kyrburg and Mathilde of Bar, and had Hugo II.
Hugo II of Blieskastel, Count of Lützelstein (1208? - a. 1246). Married Judith (Joathe) of Lorraine, daughter of Philippe, son of Frederick I, Duke of Lorraine ("Ferry").
Hugo III, Count of Lützelstein (Perhaps also Lunéville) (d.a. 1280/99), married Elisabeth (d.a. 1271), daughter of Simon III, Count of Saarbrücken. Probably also Elisabeth of Vinstingen, a grandniece of Simon.
In 1223, due to a conflict with the Bishop of Strasbourg, the counts of Parva Petra were forced to yield it as a fief to the bishop as an episcopal stronghold, under the bishop's reign.
In 1403, Friedrich of Lutzelstein died as the last was the last male heir of the castle. His uncle Bourcard/Burkhard II of Lutzelstein, Bishop of Strasbourg (in office 1393 - 1394), was one of the claimants, as well as Friedrich's sister, married to Johann of Leiningen. Burkhard (of Friedrich?) divided the property letting Palatine count Robert III, Holy Roman Emperor a fourth and the rest to his daughters. Sons of Burkhard and of the Leiningen family ruled for some time in Lützelstein. However the Palatine count Frederick I (1425 - 1476) seized it all in 1452/62 as the new holders died without legitimate heirs. In 1566, it became the residence of George John I, Count Palatine of Veldenz, who carried out major works. The French Army occupied the castle in 1677; in 1681 the county was joined with in France. Vauban was charged with improving the fortifications. In 1870 that the fortifications were removed.
Since 1977, the building has housed the administrative services of the Parc naturel régional (Natural Regional Park) of Vosges du Nord. In the multi-media exhibition there, a room is specifically devoted to the history of the castle with, in particular, a superb model of Staedtel, the fortified old town, according to plans of 1771, and an impressive sight of the castle's ancient cistern.
The fortified town, with the Saint-Louis chapel, the 15th-century church choir and the bastion tower protecting the cisterns, is closely linked to the castle.

Answer: vosges du nord


Question: What parc naturel régional is located at this castle?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

Originally there was a stronghold in the place, built by the family of Hugues IV of Nordgau (fr), Count of Egisheim.
Built at the end of the 12th century, the Château de la Petite-Pierre is recorded from 1212. Count Hugo, either the son or grandson of the powerful Count of Blieskastel (fr), is held as the constructor. The fief was recognised as the "County of Lützelstein", within the German Holy Roman Empire, approximately at the same time.
The counts have used the title Graf von Lützelstein, later also Comte de Petite-Pierre, meaning basically the same, also Comte de Lunéville (in Lorraine), which might be due to a confusion of transferral of power at some point.
A probable, incomplete, order of the early counts of Lützelstein, as precise documentation is not at hand:
Hugo I of Blieskastel (d.a. 1220), Count of Lützelstein or Lunéville (or both), second son of Folmar I (d.a. 1179), Count of Blieskastel with Clementia of Metz. His brother Folmar II, Count of Blieskastel was married to Jutta, daughter of Simon I, Count of Saarbrücken. Hugo married Kunigunde, daughter of Konrad, Count of Kyrburg and Mathilde of Bar, and had Hugo II.
Hugo II of Blieskastel, Count of Lützelstein (1208? - a. 1246). Married Judith (Joathe) of Lorraine, daughter of Philippe, son of Frederick I, Duke of Lorraine ("Ferry").
Hugo III, Count of Lützelstein (Perhaps also Lunéville) (d.a. 1280/99), married Elisabeth (d.a. 1271), daughter of Simon III, Count of Saarbrücken. Probably also Elisabeth of Vinstingen, a grandniece of Simon.
In 1223, due to a conflict with the Bishop of Strasbourg, the counts of Parva Petra were forced to yield it as a fief to the bishop as an episcopal stronghold, under the bishop's reign.
In 1403, Friedrich of Lutzelstein died as the last was the last male heir of the castle. His uncle Bourcard/Burkhard II of Lutzelstein, Bishop of Strasbourg (in office 1393 - 1394), was one of the claimants, as well as Friedrich's sister, married to Johann of Leiningen. Burkhard (of Friedrich?) divided the property letting Palatine count Robert III, Holy Roman Emperor a fourth and the rest to his daughters. Sons of Burkhard and of the Leiningen family ruled for some time in Lützelstein. However the Palatine count Frederick I (1425 - 1476) seized it all in 1452/62 as the new holders died without legitimate heirs. In 1566, it became the residence of George John I, Count Palatine of Veldenz, who carried out major works. The French Army occupied the castle in 1677; in 1681 the county was joined with in France. Vauban was charged with improving the fortifications. In 1870 that the fortifications were removed.
Since 1977, the building has housed the administrative services of the Parc naturel régional (Natural Regional Park) of Vosges du Nord. In the multi-media exhibition there, a room is specifically devoted to the history of the castle with, in particular, a superb model of Staedtel, the fortified old town, according to plans of 1771, and an impressive sight of the castle's ancient cistern.
The fortified town, with the Saint-Louis chapel, the 15th-century church choir and the bastion tower protecting the cisterns, is closely linked to the castle.

Answer: vosges du nord


Question: Along with abu inan's sister, who was buried at this necropolis?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

During the Marinid period the site of ancient Sala was re-appropriated and turned into a royal necropolis for the ruling dynasty, now known as Chellah (Arabic: شالة, romanized: Shāllah). Because of its ruined condition today, the exact chronology of its development is not well known. The first Marinid constructions and the first royal burial were in 1284–85, when sultan Abu Yusuf Ya'qub chose the site to bury his wife, Umm al-'Izz. He built a small mosque (still extant) next to her tomb. The tomb itself was a qubba, a small mausoleum chamber covered by a dome or pyramidal roof. The sultan himself was buried next to her after his death in Algeciras in 1286. His son and successor, Abu Ya'qub Yusuf, was buried at the site after his death in 1307, and his successor, Abu Thabit 'Amir, was buried near Abu Ya'qub Yusuf in 1308.
The most important Marinid constructions appear to have occurred during the reigns of Abu Sa'id Uthman II (r. 1310–1331) and his son, Abu al-Hasan (r. 1331–1348; also known as the Black Sultan). Abu Sa'id enclosed the area with a set of walls and began construction of the main gate. According to some sources he was buried in this necropolis too after his death in 1331, though Ibn Khaldun wrote that he was buried in Fez. Construction of the main gate was finished by Abu al-Hasan, as evidenced by an inscription on it which dates its completion to July 1339 (Dhu al-Qadah 739 AH) and refers to the complex as a "ribat". During Abu al-Hasan's lifetime one of his wives, Shams al-Ḍuḥa (the mother of Abu Inan), was buried here in 1349. One of his sons, Abu Malik, may have also been buried in the necropolis in 1339. After his death in exile in 1351, Abu al-Hasan's body was buried in a mausoleum here as well, near his wife. This mausoleum may have been finished by his son and successor, Abu Inan (r. 1348–1358). Abu Inan may have also been responsible for building or completing the madrasa (Islamic college) and the prominent minaret that adjoin the mosque and mausoleums. He set up a charitable endowment (waqf) to fund the operations of the religious complex. Remains at the site today also show that the necropolis was accompanied by a residential quarter to the north, complete with a water supply system. A preserved hammam (bathhouse) from this period also stands near the far eastern corner of the walled enclosure.
Abu al-Hasan was the last sultan to be buried here. Abu Inan is believed to have been buried at the Great Mosque of Fes el-Jdid and other Marinid sultans after him were mostly buried at the Marinid Tombs in Fez or other sites. Other Marinid family members, such as Abu Inan's sister and other princes, were still occasionally buried at Chellah. Between 1360 and 1363 Ibn al-Khatib, the vizier of the Nasrid sultan Muhammad V, visited the site during his master's exile from Granada and mentioned it in his writings. He described the luxurious decoration of the tombs and noted that a large fragment of a kiswah (the cloth that covers the Ka'ba in Mecca) was draped over the tomb of Abu al-Hasan.

Answer: other princes


Question: Along with abu inan's sister, who was buried at this necropolis?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

During the Marinid period the site of ancient Sala was re-appropriated and turned into a royal necropolis for the ruling dynasty, now known as Chellah (Arabic: شالة, romanized: Shāllah). Because of its ruined condition today, the exact chronology of its development is not well known. The first Marinid constructions and the first royal burial were in 1284–85, when sultan Abu Yusuf Ya'qub chose the site to bury his wife, Umm al-'Izz. He built a small mosque (still extant) next to her tomb. The tomb itself was a qubba, a small mausoleum chamber covered by a dome or pyramidal roof. The sultan himself was buried next to her after his death in Algeciras in 1286. His son and successor, Abu Ya'qub Yusuf, was buried at the site after his death in 1307, and his successor, Abu Thabit 'Amir, was buried near Abu Ya'qub Yusuf in 1308.
The most important Marinid constructions appear to have occurred during the reigns of Abu Sa'id Uthman II (r. 1310–1331) and his son, Abu al-Hasan (r. 1331–1348; also known as the Black Sultan). Abu Sa'id enclosed the area with a set of walls and began construction of the main gate. According to some sources he was buried in this necropolis too after his death in 1331, though Ibn Khaldun wrote that he was buried in Fez. Construction of the main gate was finished by Abu al-Hasan, as evidenced by an inscription on it which dates its completion to July 1339 (Dhu al-Qadah 739 AH) and refers to the complex as a "ribat". During Abu al-Hasan's lifetime one of his wives, Shams al-Ḍuḥa (the mother of Abu Inan), was buried here in 1349. One of his sons, Abu Malik, may have also been buried in the necropolis in 1339. After his death in exile in 1351, Abu al-Hasan's body was buried in a mausoleum here as well, near his wife. This mausoleum may have been finished by his son and successor, Abu Inan (r. 1348–1358). Abu Inan may have also been responsible for building or completing the madrasa (Islamic college) and the prominent minaret that adjoin the mosque and mausoleums. He set up a charitable endowment (waqf) to fund the operations of the religious complex. Remains at the site today also show that the necropolis was accompanied by a residential quarter to the north, complete with a water supply system. A preserved hammam (bathhouse) from this period also stands near the far eastern corner of the walled enclosure.
Abu al-Hasan was the last sultan to be buried here. Abu Inan is believed to have been buried at the Great Mosque of Fes el-Jdid and other Marinid sultans after him were mostly buried at the Marinid Tombs in Fez or other sites. Other Marinid family members, such as Abu Inan's sister and other princes, were still occasionally buried at Chellah. Between 1360 and 1363 Ibn al-Khatib, the vizier of the Nasrid sultan Muhammad V, visited the site during his master's exile from Granada and mentioned it in his writings. He described the luxurious decoration of the tombs and noted that a large fragment of a kiswah (the cloth that covers the Ka'ba in Mecca) was draped over the tomb of Abu al-Hasan.

Answer: other princes


Question: Along with abu inan's sister, who was buried at this necropolis?

Instruction: Extract documents linked to the question provided in conjunction with the image:

During the Marinid period the site of ancient Sala was re-appropriated and turned into a royal necropolis for the ruling dynasty, now known as Chellah (Arabic: شالة, romanized: Shāllah). Because of its ruined condition today, the exact chronology of its development is not well known. The first Marinid constructions and the first royal burial were in 1284–85, when sultan Abu Yusuf Ya'qub chose the site to bury his wife, Umm al-'Izz. He built a small mosque (still extant) next to her tomb. The tomb itself was a qubba, a small mausoleum chamber covered by a dome or pyramidal roof. The sultan himself was buried next to her after his death in Algeciras in 1286. His son and successor, Abu Ya'qub Yusuf, was buried at the site after his death in 1307, and his successor, Abu Thabit 'Amir, was buried near Abu Ya'qub Yusuf in 1308.
The most important Marinid constructions appear to have occurred during the reigns of Abu Sa'id Uthman II (r. 1310–1331) and his son, Abu al-Hasan (r. 1331–1348; also known as the Black Sultan). Abu Sa'id enclosed the area with a set of walls and began construction of the main gate. According to some sources he was buried in this necropolis too after his death in 1331, though Ibn Khaldun wrote that he was buried in Fez. Construction of the main gate was finished by Abu al-Hasan, as evidenced by an inscription on it which dates its completion to July 1339 (Dhu al-Qadah 739 AH) and refers to the complex as a "ribat". During Abu al-Hasan's lifetime one of his wives, Shams al-Ḍuḥa (the mother of Abu Inan), was buried here in 1349. One of his sons, Abu Malik, may have also been buried in the necropolis in 1339. After his death in exile in 1351, Abu al-Hasan's body was buried in a mausoleum here as well, near his wife. This mausoleum may have been finished by his son and successor, Abu Inan (r. 1348–1358). Abu Inan may have also been responsible for building or completing the madrasa (Islamic college) and the prominent minaret that adjoin the mosque and mausoleums. He set up a charitable endowment (waqf) to fund the operations of the religious complex. Remains at the site today also show that the necropolis was accompanied by a residential quarter to the north, complete with a water supply system. A preserved hammam (bathhouse) from this period also stands near the far eastern corner of the walled enclosure.
Abu al-Hasan was the last sultan to be buried here. Abu Inan is believed to have been buried at the Great Mosque of Fes el-Jdid and other Marinid sultans after him were mostly buried at the Marinid Tombs in Fez or other sites. Other Marinid family members, such as Abu Inan's sister and other princes, were still occasionally buried at Chellah. Between 1360 and 1363 Ibn al-Khatib, the vizier of the Nasrid sultan Muhammad V, visited the site during his master's exile from Granada and mentioned it in his writings. He described the luxurious decoration of the tombs and noted that a large fragment of a kiswah (the cloth that covers the Ka'ba in Mecca) was draped over the tomb of Abu al-Hasan.

Answer: other princes


Question: Along with abu inan's sister, who was buried at this necropolis?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

During the Marinid period the site of ancient Sala was re-appropriated and turned into a royal necropolis for the ruling dynasty, now known as Chellah (Arabic: شالة, romanized: Shāllah). Because of its ruined condition today, the exact chronology of its development is not well known. The first Marinid constructions and the first royal burial were in 1284–85, when sultan Abu Yusuf Ya'qub chose the site to bury his wife, Umm al-'Izz. He built a small mosque (still extant) next to her tomb. The tomb itself was a qubba, a small mausoleum chamber covered by a dome or pyramidal roof. The sultan himself was buried next to her after his death in Algeciras in 1286. His son and successor, Abu Ya'qub Yusuf, was buried at the site after his death in 1307, and his successor, Abu Thabit 'Amir, was buried near Abu Ya'qub Yusuf in 1308.
The most important Marinid constructions appear to have occurred during the reigns of Abu Sa'id Uthman II (r. 1310–1331) and his son, Abu al-Hasan (r. 1331–1348; also known as the Black Sultan). Abu Sa'id enclosed the area with a set of walls and began construction of the main gate. According to some sources he was buried in this necropolis too after his death in 1331, though Ibn Khaldun wrote that he was buried in Fez. Construction of the main gate was finished by Abu al-Hasan, as evidenced by an inscription on it which dates its completion to July 1339 (Dhu al-Qadah 739 AH) and refers to the complex as a "ribat". During Abu al-Hasan's lifetime one of his wives, Shams al-Ḍuḥa (the mother of Abu Inan), was buried here in 1349. One of his sons, Abu Malik, may have also been buried in the necropolis in 1339. After his death in exile in 1351, Abu al-Hasan's body was buried in a mausoleum here as well, near his wife. This mausoleum may have been finished by his son and successor, Abu Inan (r. 1348–1358). Abu Inan may have also been responsible for building or completing the madrasa (Islamic college) and the prominent minaret that adjoin the mosque and mausoleums. He set up a charitable endowment (waqf) to fund the operations of the religious complex. Remains at the site today also show that the necropolis was accompanied by a residential quarter to the north, complete with a water supply system. A preserved hammam (bathhouse) from this period also stands near the far eastern corner of the walled enclosure.
Abu al-Hasan was the last sultan to be buried here. Abu Inan is believed to have been buried at the Great Mosque of Fes el-Jdid and other Marinid sultans after him were mostly buried at the Marinid Tombs in Fez or other sites. Other Marinid family members, such as Abu Inan's sister and other princes, were still occasionally buried at Chellah. Between 1360 and 1363 Ibn al-Khatib, the vizier of the Nasrid sultan Muhammad V, visited the site during his master's exile from Granada and mentioned it in his writings. He described the luxurious decoration of the tombs and noted that a large fragment of a kiswah (the cloth that covers the Ka'ba in Mecca) was draped over the tomb of Abu al-Hasan.

Answer: other princes


Question: Along with abu inan's sister, who was buried at this necropolis?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

During the Marinid period the site of ancient Sala was re-appropriated and turned into a royal necropolis for the ruling dynasty, now known as Chellah (Arabic: شالة, romanized: Shāllah). Because of its ruined condition today, the exact chronology of its development is not well known. The first Marinid constructions and the first royal burial were in 1284–85, when sultan Abu Yusuf Ya'qub chose the site to bury his wife, Umm al-'Izz. He built a small mosque (still extant) next to her tomb. The tomb itself was a qubba, a small mausoleum chamber covered by a dome or pyramidal roof. The sultan himself was buried next to her after his death in Algeciras in 1286. His son and successor, Abu Ya'qub Yusuf, was buried at the site after his death in 1307, and his successor, Abu Thabit 'Amir, was buried near Abu Ya'qub Yusuf in 1308.
The most important Marinid constructions appear to have occurred during the reigns of Abu Sa'id Uthman II (r. 1310–1331) and his son, Abu al-Hasan (r. 1331–1348; also known as the Black Sultan). Abu Sa'id enclosed the area with a set of walls and began construction of the main gate. According to some sources he was buried in this necropolis too after his death in 1331, though Ibn Khaldun wrote that he was buried in Fez. Construction of the main gate was finished by Abu al-Hasan, as evidenced by an inscription on it which dates its completion to July 1339 (Dhu al-Qadah 739 AH) and refers to the complex as a "ribat". During Abu al-Hasan's lifetime one of his wives, Shams al-Ḍuḥa (the mother of Abu Inan), was buried here in 1349. One of his sons, Abu Malik, may have also been buried in the necropolis in 1339. After his death in exile in 1351, Abu al-Hasan's body was buried in a mausoleum here as well, near his wife. This mausoleum may have been finished by his son and successor, Abu Inan (r. 1348–1358). Abu Inan may have also been responsible for building or completing the madrasa (Islamic college) and the prominent minaret that adjoin the mosque and mausoleums. He set up a charitable endowment (waqf) to fund the operations of the religious complex. Remains at the site today also show that the necropolis was accompanied by a residential quarter to the north, complete with a water supply system. A preserved hammam (bathhouse) from this period also stands near the far eastern corner of the walled enclosure.
Abu al-Hasan was the last sultan to be buried here. Abu Inan is believed to have been buried at the Great Mosque of Fes el-Jdid and other Marinid sultans after him were mostly buried at the Marinid Tombs in Fez or other sites. Other Marinid family members, such as Abu Inan's sister and other princes, were still occasionally buried at Chellah. Between 1360 and 1363 Ibn al-Khatib, the vizier of the Nasrid sultan Muhammad V, visited the site during his master's exile from Granada and mentioned it in his writings. He described the luxurious decoration of the tombs and noted that a large fragment of a kiswah (the cloth that covers the Ka'ba in Mecca) was draped over the tomb of Abu al-Hasan.

Answer: other princes


Question: Who estimated that the hammam of this necropolis was built between 1339 and 1358?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

The hammam (Islamic bathhouse) of Chellah has a roughly rectangular floor plan measuring 28.5 by 10.4 metres. Henri Terrasse estimated that its construction was contemporary with the other major Marinid structures in Chellah and that it took place between 1339 and 1358. It was restored in the 20th century. It shares general similarities with other historic hammams in this part of the Islamic world. It consists of a changing room near the entrance (equivalent to the Roman apodyterium), followed by a cold room (equivalent to the frigidarium), a warm room (equivalent to the tepidarium), and a hot room (equivalent to the caldarium). Another chamber behind the hot room contained the furnace that heated the baths and its water via the traditional hypocaust system. A small chamber near the changing room probably contained the latrines. The hammam was entered from a gate at its west corner. The changing room consisted of a central square space flanked by two small rectangular galleries divided from it by a row of arches supported by columns. This room was probably the most decorated space in the building, though no decoration has been preserved today. The central square space was probably covered by an ornate wooden vault ceiling while the galleries were covered by groin vaults. The cold room and hot room are both roofed by groin vaults, while the warm room between them is larger and is roofed by two cloister vaults.

Answer: henri terrasse


Question: Who estimated that the hammam of this necropolis was built between 1339 and 1358?

Instruction: With the provided image, gather documents that offer a solution to the question:

The hammam (Islamic bathhouse) of Chellah has a roughly rectangular floor plan measuring 28.5 by 10.4 metres. Henri Terrasse estimated that its construction was contemporary with the other major Marinid structures in Chellah and that it took place between 1339 and 1358. It was restored in the 20th century. It shares general similarities with other historic hammams in this part of the Islamic world. It consists of a changing room near the entrance (equivalent to the Roman apodyterium), followed by a cold room (equivalent to the frigidarium), a warm room (equivalent to the tepidarium), and a hot room (equivalent to the caldarium). Another chamber behind the hot room contained the furnace that heated the baths and its water via the traditional hypocaust system. A small chamber near the changing room probably contained the latrines. The hammam was entered from a gate at its west corner. The changing room consisted of a central square space flanked by two small rectangular galleries divided from it by a row of arches supported by columns. This room was probably the most decorated space in the building, though no decoration has been preserved today. The central square space was probably covered by an ornate wooden vault ceiling while the galleries were covered by groin vaults. The cold room and hot room are both roofed by groin vaults, while the warm room between them is larger and is roofed by two cloister vaults.

Answer: henri terrasse


Question: Who estimated that the hammam of this necropolis was built between 1339 and 1358?

Instruction: With the provided image, gather documents that offer a solution to the question:

The hammam (Islamic bathhouse) of Chellah has a roughly rectangular floor plan measuring 28.5 by 10.4 metres. Henri Terrasse estimated that its construction was contemporary with the other major Marinid structures in Chellah and that it took place between 1339 and 1358. It was restored in the 20th century. It shares general similarities with other historic hammams in this part of the Islamic world. It consists of a changing room near the entrance (equivalent to the Roman apodyterium), followed by a cold room (equivalent to the frigidarium), a warm room (equivalent to the tepidarium), and a hot room (equivalent to the caldarium). Another chamber behind the hot room contained the furnace that heated the baths and its water via the traditional hypocaust system. A small chamber near the changing room probably contained the latrines. The hammam was entered from a gate at its west corner. The changing room consisted of a central square space flanked by two small rectangular galleries divided from it by a row of arches supported by columns. This room was probably the most decorated space in the building, though no decoration has been preserved today. The central square space was probably covered by an ornate wooden vault ceiling while the galleries were covered by groin vaults. The cold room and hot room are both roofed by groin vaults, while the warm room between them is larger and is roofed by two cloister vaults.

Answer: henri terrasse


Question: Who estimated that the hammam of this necropolis was built between 1339 and 1358?

Instruction: With the provided image, gather documents that offer a solution to the question:

The hammam (Islamic bathhouse) of Chellah has a roughly rectangular floor plan measuring 28.5 by 10.4 metres. Henri Terrasse estimated that its construction was contemporary with the other major Marinid structures in Chellah and that it took place between 1339 and 1358. It was restored in the 20th century. It shares general similarities with other historic hammams in this part of the Islamic world. It consists of a changing room near the entrance (equivalent to the Roman apodyterium), followed by a cold room (equivalent to the frigidarium), a warm room (equivalent to the tepidarium), and a hot room (equivalent to the caldarium). Another chamber behind the hot room contained the furnace that heated the baths and its water via the traditional hypocaust system. A small chamber near the changing room probably contained the latrines. The hammam was entered from a gate at its west corner. The changing room consisted of a central square space flanked by two small rectangular galleries divided from it by a row of arches supported by columns. This room was probably the most decorated space in the building, though no decoration has been preserved today. The central square space was probably covered by an ornate wooden vault ceiling while the galleries were covered by groin vaults. The cold room and hot room are both roofed by groin vaults, while the warm room between them is larger and is roofed by two cloister vaults.

Answer: henri terrasse


Question: Who estimated that the hammam of this necropolis was built between 1339 and 1358?

Instruction: Extract documents linked to the question provided in conjunction with the image:

The hammam (Islamic bathhouse) of Chellah has a roughly rectangular floor plan measuring 28.5 by 10.4 metres. Henri Terrasse estimated that its construction was contemporary with the other major Marinid structures in Chellah and that it took place between 1339 and 1358. It was restored in the 20th century. It shares general similarities with other historic hammams in this part of the Islamic world. It consists of a changing room near the entrance (equivalent to the Roman apodyterium), followed by a cold room (equivalent to the frigidarium), a warm room (equivalent to the tepidarium), and a hot room (equivalent to the caldarium). Another chamber behind the hot room contained the furnace that heated the baths and its water via the traditional hypocaust system. A small chamber near the changing room probably contained the latrines. The hammam was entered from a gate at its west corner. The changing room consisted of a central square space flanked by two small rectangular galleries divided from it by a row of arches supported by columns. This room was probably the most decorated space in the building, though no decoration has been preserved today. The central square space was probably covered by an ornate wooden vault ceiling while the galleries were covered by groin vaults. The cold room and hot room are both roofed by groin vaults, while the warm room between them is larger and is roofed by two cloister vaults.

Answer: henri terrasse


Question: What do some people consider this church to be?

Instruction: Using the given image, access documents that provide insights into the following question:

The Chesme Church (Russian: Чесменская церковь; full name Church of Saint John the Baptist at Chesme Palace, also called the Church of the Nativity of St. John the Baptist, Russian: це́рковь Рождества́ Иоа́нна Предте́чи при Че́сменском Дворце́), is a small Russian Orthodox church at 12 Lensoveta Street, in Saint Petersburg, Russia. It was built by the Russian court architect Yury Felten in 1780, at the direction of Catherine the Great, Empress of Russia. A memorial church, it was erected adjacent to the Chesme Palace (Russian: Чесменский дворец: damaged during the Siege of Leningrad and restored in 1946) between Saint Petersburg and Tsarskoye Selo to commemorate the anniversary of Russia's 1770 victory over Turkish forces in Chesme Bay (Turkish: Çeşme) in the Aegean Sea during the Russo-Turkish War of 1768–1774.
The church and Chesme Palace were the earliest Neo-Gothic constructions in the St Petersburg area. Considered by some to be St Petersburg's single most impressive church, it is a rare example of very early Gothic Revival influence in Russian church architecture.

Answer: st petersburg's single most impressive church


Question: What do some people consider this church to be?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The Chesme Church (Russian: Чесменская церковь; full name Church of Saint John the Baptist at Chesme Palace, also called the Church of the Nativity of St. John the Baptist, Russian: це́рковь Рождества́ Иоа́нна Предте́чи при Че́сменском Дворце́), is a small Russian Orthodox church at 12 Lensoveta Street, in Saint Petersburg, Russia. It was built by the Russian court architect Yury Felten in 1780, at the direction of Catherine the Great, Empress of Russia. A memorial church, it was erected adjacent to the Chesme Palace (Russian: Чесменский дворец: damaged during the Siege of Leningrad and restored in 1946) between Saint Petersburg and Tsarskoye Selo to commemorate the anniversary of Russia's 1770 victory over Turkish forces in Chesme Bay (Turkish: Çeşme) in the Aegean Sea during the Russo-Turkish War of 1768–1774.
The church and Chesme Palace were the earliest Neo-Gothic constructions in the St Petersburg area. Considered by some to be St Petersburg's single most impressive church, it is a rare example of very early Gothic Revival influence in Russian church architecture.

Answer: st petersburg's single most impressive church


Question: What do some people consider this church to be?

Instruction: Extract documents linked to the question provided in conjunction with the image:

The Chesme Church (Russian: Чесменская церковь; full name Church of Saint John the Baptist at Chesme Palace, also called the Church of the Nativity of St. John the Baptist, Russian: це́рковь Рождества́ Иоа́нна Предте́чи при Че́сменском Дворце́), is a small Russian Orthodox church at 12 Lensoveta Street, in Saint Petersburg, Russia. It was built by the Russian court architect Yury Felten in 1780, at the direction of Catherine the Great, Empress of Russia. A memorial church, it was erected adjacent to the Chesme Palace (Russian: Чесменский дворец: damaged during the Siege of Leningrad and restored in 1946) between Saint Petersburg and Tsarskoye Selo to commemorate the anniversary of Russia's 1770 victory over Turkish forces in Chesme Bay (Turkish: Çeşme) in the Aegean Sea during the Russo-Turkish War of 1768–1774.
The church and Chesme Palace were the earliest Neo-Gothic constructions in the St Petersburg area. Considered by some to be St Petersburg's single most impressive church, it is a rare example of very early Gothic Revival influence in Russian church architecture.

Answer: st petersburg's single most impressive church


Question: What do some people consider this church to be?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The Chesme Church (Russian: Чесменская церковь; full name Church of Saint John the Baptist at Chesme Palace, also called the Church of the Nativity of St. John the Baptist, Russian: це́рковь Рождества́ Иоа́нна Предте́чи при Че́сменском Дворце́), is a small Russian Orthodox church at 12 Lensoveta Street, in Saint Petersburg, Russia. It was built by the Russian court architect Yury Felten in 1780, at the direction of Catherine the Great, Empress of Russia. A memorial church, it was erected adjacent to the Chesme Palace (Russian: Чесменский дворец: damaged during the Siege of Leningrad and restored in 1946) between Saint Petersburg and Tsarskoye Selo to commemorate the anniversary of Russia's 1770 victory over Turkish forces in Chesme Bay (Turkish: Çeşme) in the Aegean Sea during the Russo-Turkish War of 1768–1774.
The church and Chesme Palace were the earliest Neo-Gothic constructions in the St Petersburg area. Considered by some to be St Petersburg's single most impressive church, it is a rare example of very early Gothic Revival influence in Russian church architecture.

Answer: st petersburg's single most impressive church


Question: What do some people consider this church to be?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

The Chesme Church (Russian: Чесменская церковь; full name Church of Saint John the Baptist at Chesme Palace, also called the Church of the Nativity of St. John the Baptist, Russian: це́рковь Рождества́ Иоа́нна Предте́чи при Че́сменском Дворце́), is a small Russian Orthodox church at 12 Lensoveta Street, in Saint Petersburg, Russia. It was built by the Russian court architect Yury Felten in 1780, at the direction of Catherine the Great, Empress of Russia. A memorial church, it was erected adjacent to the Chesme Palace (Russian: Чесменский дворец: damaged during the Siege of Leningrad and restored in 1946) between Saint Petersburg and Tsarskoye Selo to commemorate the anniversary of Russia's 1770 victory over Turkish forces in Chesme Bay (Turkish: Çeşme) in the Aegean Sea during the Russo-Turkish War of 1768–1774.
The church and Chesme Palace were the earliest Neo-Gothic constructions in the St Petersburg area. Considered by some to be St Petersburg's single most impressive church, it is a rare example of very early Gothic Revival influence in Russian church architecture.

Answer: st petersburg's single most impressive church


Question: What type of camp was this church during the soviet occupation?

Instruction: Using the given image, access documents that provide insights into the following question:

In 1777, King Gustav III of Sweden attended the laying of the church's foundation. The church was built between 1777 and 1780.  It is a memorial church to honour the 1770 Russian victory at the Battle of Chesme. Empress Catherine II chose the site as it was here that she got the news of the Russian victory over the Turks. Joseph II, Holy Roman Emperor was present at the church's consecration.
The knights of the Order of St. George were also in possession of the church at some point when it was given the third name, "St. George’s Church".
The church and the Chesme Palace became a labour camp when the Soviet government occupied it. In 1923, the church was closed and used as a storehouse. Between 1941 and 1945, the church suffered damages during the "Great Patriotic War". During the Second World War, the Institute of Aviation Technology took possession of the Church and the Chesme Palace. During 1970–75, it was fully restored under the supervision of the architects M.I. Tolstov and A.P. Kulikov. In 1977, the church became a museum of the Battle of Chesme (with artifacts from the Central Naval Museum). Religious control was restored to the Russian Orthodox Church in 1991, and regular church services have been held at the church since then.

Answer: labour


Question: What type of camp was this church during the soviet occupation?

Instruction: Using the provided image, obtain documents that address the subsequent question:

In 1777, King Gustav III of Sweden attended the laying of the church's foundation. The church was built between 1777 and 1780.  It is a memorial church to honour the 1770 Russian victory at the Battle of Chesme. Empress Catherine II chose the site as it was here that she got the news of the Russian victory over the Turks. Joseph II, Holy Roman Emperor was present at the church's consecration.
The knights of the Order of St. George were also in possession of the church at some point when it was given the third name, "St. George’s Church".
The church and the Chesme Palace became a labour camp when the Soviet government occupied it. In 1923, the church was closed and used as a storehouse. Between 1941 and 1945, the church suffered damages during the "Great Patriotic War". During the Second World War, the Institute of Aviation Technology took possession of the Church and the Chesme Palace. During 1970–75, it was fully restored under the supervision of the architects M.I. Tolstov and A.P. Kulikov. In 1977, the church became a museum of the Battle of Chesme (with artifacts from the Central Naval Museum). Religious control was restored to the Russian Orthodox Church in 1991, and regular church services have been held at the church since then.

Answer: labour


Question: What type of camp was this church during the soviet occupation?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

In 1777, King Gustav III of Sweden attended the laying of the church's foundation. The church was built between 1777 and 1780.  It is a memorial church to honour the 1770 Russian victory at the Battle of Chesme. Empress Catherine II chose the site as it was here that she got the news of the Russian victory over the Turks. Joseph II, Holy Roman Emperor was present at the church's consecration.
The knights of the Order of St. George were also in possession of the church at some point when it was given the third name, "St. George’s Church".
The church and the Chesme Palace became a labour camp when the Soviet government occupied it. In 1923, the church was closed and used as a storehouse. Between 1941 and 1945, the church suffered damages during the "Great Patriotic War". During the Second World War, the Institute of Aviation Technology took possession of the Church and the Chesme Palace. During 1970–75, it was fully restored under the supervision of the architects M.I. Tolstov and A.P. Kulikov. In 1977, the church became a museum of the Battle of Chesme (with artifacts from the Central Naval Museum). Religious control was restored to the Russian Orthodox Church in 1991, and regular church services have been held at the church since then.

Answer: labour


Question: What type of camp was this church during the soviet occupation?

Instruction: Extract documents linked to the question provided in conjunction with the image:

In 1777, King Gustav III of Sweden attended the laying of the church's foundation. The church was built between 1777 and 1780.  It is a memorial church to honour the 1770 Russian victory at the Battle of Chesme. Empress Catherine II chose the site as it was here that she got the news of the Russian victory over the Turks. Joseph II, Holy Roman Emperor was present at the church's consecration.
The knights of the Order of St. George were also in possession of the church at some point when it was given the third name, "St. George’s Church".
The church and the Chesme Palace became a labour camp when the Soviet government occupied it. In 1923, the church was closed and used as a storehouse. Between 1941 and 1945, the church suffered damages during the "Great Patriotic War". During the Second World War, the Institute of Aviation Technology took possession of the Church and the Chesme Palace. During 1970–75, it was fully restored under the supervision of the architects M.I. Tolstov and A.P. Kulikov. In 1977, the church became a museum of the Battle of Chesme (with artifacts from the Central Naval Museum). Religious control was restored to the Russian Orthodox Church in 1991, and regular church services have been held at the church since then.

Answer: labour


Question: What type of camp was this church during the soviet occupation?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

In 1777, King Gustav III of Sweden attended the laying of the church's foundation. The church was built between 1777 and 1780.  It is a memorial church to honour the 1770 Russian victory at the Battle of Chesme. Empress Catherine II chose the site as it was here that she got the news of the Russian victory over the Turks. Joseph II, Holy Roman Emperor was present at the church's consecration.
The knights of the Order of St. George were also in possession of the church at some point when it was given the third name, "St. George’s Church".
The church and the Chesme Palace became a labour camp when the Soviet government occupied it. In 1923, the church was closed and used as a storehouse. Between 1941 and 1945, the church suffered damages during the "Great Patriotic War". During the Second World War, the Institute of Aviation Technology took possession of the Church and the Chesme Palace. During 1970–75, it was fully restored under the supervision of the architects M.I. Tolstov and A.P. Kulikov. In 1977, the church became a museum of the Battle of Chesme (with artifacts from the Central Naval Museum). Religious control was restored to the Russian Orthodox Church in 1991, and regular church services have been held at the church since then.

Answer: labour


Question: Who built this church?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: yury felten


Question: Who built this church?

Instruction: Extract documents linked to the question provided in conjunction with the image:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: yury felten


Question: Who built this church?

Instruction: With the provided image, gather documents that offer a solution to the question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: yury felten


Question: Who built this church?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: yury felten


Question: Who built this church?

Instruction: With the provided image, gather documents that offer a solution to the question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: yury felten


Question: What architectural style was this church built in?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: gothic revival


Question: What architectural style was this church built in?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: gothic revival


Question: What architectural style was this church built in?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: gothic revival


Question: What architectural style was this church built in?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: gothic revival


Question: What architectural style was this church built in?

Instruction: Extract documents linked to the question provided in conjunction with the image:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: gothic revival


Question: What does the entrance portal of this church have of angels on it?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: sculptures


Question: What does the entrance portal of this church have of angels on it?

Instruction: With the provided image, gather documents that offer a solution to the question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: sculptures


Question: What does the entrance portal of this church have of angels on it?

Instruction: With the provided image, gather documents that offer a solution to the question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: sculptures


Question: What does the entrance portal of this church have of angels on it?

Instruction: Utilizing the given image, obtain documents that respond to the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: sculptures


Question: What does the entrance portal of this church have of angels on it?

Instruction: Using the given image, access documents that provide insights into the following question:

The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards". The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders".
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Finials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the "Moscow baroque". During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility". The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. It also has lancet windows and doorways. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished. Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth. When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the "Christ the saviour in the iconostasis-less altar apse". Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.

Answer: sculptures


Question: What type of external decoration does this church have?

Instruction: With the provided image, gather documents that offer a solution to the question:

It dates its founding to 1107 after Henry I of England granted the lands and castle to Robert de Beaumont, although the chronicler Henry Knighton implies that an Anglo-Saxon college of St Mary had existed and Robert merely refurbished it. Robert established it within the castle bailey as a college served by a Dean and 12 Canons (that is, a collegiate church) in honour of the Virgin Mary and All Souls and as a chantry chapel for the souls of him, his family and the first three Norman kings. He endowed this and four other churches with £6 of his income and land in or near the city. However, in 1143 these endowments were all transferred by his son Robert le Bossu, 2nd Earl of Leicester, to his own new Augustinian foundation of Leicester Abbey. The collegiate church retained, or had restored to it a dean, six clerks and a chaplain, along with Robert de Beaumont's grant of 20 shillings for lamps. It also retained parish offerings and most of the tithes. The collegiate nature of the church lasted until the college was disbanded in 1548 under the Chantry Act of Edward VI.
The early-12th-century church had no aisles, and various parts of these walls survive. It underwent a major expansion in the 1160, with a north aisle, doorways to north and west, and an extension to the chancel. The two doorways provide striking external Norman zigzag decoration, but it is the Sedilia and Piscina in the Chancel extension that Pevsner describes as "the finest piece of Norman decoration in the county". Thirteenth-century alterations culminated in a major reworking of transepts and south aisle, to create an aisle wider than the nave, providing much more space for local parishioners. Also the huge east window of the south aisle, with ingenious tracery, was created around 1300. The tower was built inside the south aisle, apparently as an afterthought, rising to a quatrefoil frieze, four decorated pinnacles, and the needlelike spire rising from the battlements. The spire was completely rebuilt in 1783, but retained its crockets and three tiers of lucarnes. The interior was worked on by George Gilbert Scott throughout the 1860s.

Answer: norman zigzag