Question: What type of institution was this building constructed into?

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Studies of the construction have proved that the town hall was located at the same place in the 13th century. The 600-year-old building was built upon the old town hall's brickwork. A stone building was there in 1250. A building with a meeting room (consistorium) and a basement (cellarium civitatis) is mentioned in 1322. As the town grew richer and more powerful, it was rebuilt. At the end of the 14th century, the building was as tall as it is now, but it was narrow and without the tower. Only the arcade-gear, which differed from the current one, referred to the fact that it was not an ordinary dwelling house.
By the 14th century, Tallinn (old name: Reval) developed into one of the most important intermediate ports of the Hanseatic trade road between Europe and Russia. The 15th century was the heyday of the Hanseatic city Tallinn, when the city was largely rebuilt thanks to the profits from trade. The central article that made its way from Europe through Tallinn to Russia, was salt. Salt was followed by fabrics and herring. Metals, wine and spices were also important. Although some of the things mentioned stayed at the local market, most of it went on to Russia. Crops were the most important from the goods taken from Tallinn to the west. Rye, wood, flax and limestone were from Livonia. Most building monuments that have remained to this day, come from the 15th century: Middle Age merchant houses, churches, guild halls and including the town hall.
The major work began at the beginning of the 15th century. The town council celebrated Easter of 1402 in the old building. The construction started right after the holidays. The leading master of the building was probably stonemason Ghercke. It is possible that the leading masters, including Ghercke, came from downtown Toompea, where extensive works had ended in the last quarter of the 14th century in the fortress, the circular wall of Great Toompea and in the Cathedral (toomkirik). 600 logs, 581 balks, 46 pairs of girders and 107 burdens of stone were brought to the construction site. The stones were brought from Lasnamäe, where a stonemasons village was located. The names of the carriers have been documented. Crude stones were brought for the bricklaying, but some of the details had to be made of cut stone. The main construction – foundations, walls and vaults – was built out of limestone brought from the limestone plateau, limestone brought from stone pits near the city and all put together using lime mortar. In 1403, the stones were cut and an arcade, pillars supporting the vaults, window jambs, etc. were built. The pillars of the arcade and the main portal in the western section that had an important role in the development of the building style of Tallinn, were built by Ghercke himself and his helpers. The smaller southern portal of the cathedral (Tallinna Toomkirik) was used as an example. It is known that the stonemason Yckmele built the pillars for the wine cellar and 200 blocks for the outer corners of the building. The windows were built by master Keyzner, one of the large family of stonemasons. Master Ghercke and his two helpers were paid five Rigan marks (one Rigan mark weighed 207.8 g of silver).
The construction work was finished at the end of 1404. The masters who had placed the tiles, glazed the windows and cleaned up the debris, got their salaries. The town council celebrated Christmas in a new building. The construction had lasted for two and a half years. The builders worked only in summer. A white lime coating covered the walls and left clean stone-constructions, that were made glossy, for many centuries.
The construction works continued later: the roof and a tower were repaired, the windowpanes and staircases were changed and the ovens were set. The Golden Age of the historical Tallinn was a period from the middle of the 15th century to the beginning of the 16th century. The economical prosperity of the Hanseatic times made architecture and artistic creations possible. The vane Old Thomas was established above the town hall in 1530 (the current vane is its exact copy; the initial vane is in the town hall's basement and the vane from 1996 is in the city museum (Linnamuuseum)). Heinrich Hartmann, who was from a well-known molder family, prepared a bell for the town hall at the end of the 16th century. In the 17th century the town hall got a new spire that was made by master builder Greiger Graff.
The sharp Gothic spire was replaced with a current spire in a Late Renaissance style in 1627–1629. "It can be said by the bricks with one sign, that several of the façade works, the repairs of the tower’s console and gable, the installation of new decorative gargoyles and the works of the interior, were done in the same time or at least solidly," architect Teddy Böckler said. "Apparently, the partitions were built in the grand hall between the pillars and the bulkhead at the height of the consoles, between the years 1630 and 1650. The fireplaces were built to heat these small rooms. Formerly, there were no rain deflectors that would reach the ground. The dragon-headed gargoyles from stone or iron were on the eaves instead of these. They had to lead the water away from the building. The coppersmith Daniel Pöppel hammered dragon-headed gargoyles from the copper-plates simultaneously with finishing the tower.  Now they are in the town hall because of their beauty.
In 1652–1652, the main entrance of the town hall was rebuilt and transferred to the central part of the building, which is characteristic of Baroque architecture. The main portal was closed. The arcade and the windows of the basement and the first floor, which revealed the originality and representation of the town hall, were walled up. The citizens' hall was divided into two floors and was divided into separate rooms. In 1860, the quadrangular windows were built ogival.
In 1944, the spire of the town hall burst into flames and was destroyed in the bombing of Tallinn in the World War II. This was the push to renovation after the war. The restorations were extensive. The tower was restored in 1952. In 1959–1960, the arcade was opened again and the traces of reconstructions from the previous century were removed. In 1971–1975 (architect Teddy Böckler, interior decorators Leila Pärtelpoeg and Udo Umberg), the walls and ceilings that had been built later were demolished and the town hall was constructed into a representative institution of Tallinn.
The tower's wooden structure that had been restored in 195, was partly rotten by 1996 and the tin coating was broken. So, the spire and the Old Thomas with a symbolic meaning were both replaced. The Old Thomas could have fallen down in case of a bigger storm. The works began in the beginning of 1996, when the needed details were prepared in Albu parish. The parts of the tower were transported to Tallinn in June – the assembly and covering with copper tiles had already begun. It took 1.4 tonnes of copper plates to cover the wooden structure of the tower. In the last week of work on Wednesday, the tower's parts were put together and initially, the Old Thomas was placed on the tower next to the town hall tower. The old tower had to be strengthened so that it would not decay during the work. The upper part was raised at 8:45 a.m. Initially the work was planned to be finished at 3:00 p.m but was delayed until night. The wind rose and when only the last part of the tower was left to be raised, there was a risk that the wind would disturb the work. Finally, at 7:00 p.m., the last part of the tower was taken to its place. The tower's construction and placement were worked out by the project office Sille, engineer Danil. Plans were carried out by AS Stinger, led by Voldemar Metsaallik. The spire was put up with the help of Pekkaniska aerial platform.
During the restorations in 1970, one huge medieval hall was restored. It had been rebuilt as smaller chambers for over 300 years. The ovens' two foot chimneys that were built to heat the chambers were demolished from the hall to the vaulted ceiling. The hole in the vaulted ceiling that was hacked there in the 17th century was covered with a plastered wooden base hanging on the ropes.
In 1996, the Old Thomas might have lost his sword when the old tower was lifted down. The Old Thomas' fastenings were almost completely unfixed and the water dripped from the tower sphere underneath the vane. Apparently, the sword could have fallen down with a storm on the town hall's roof or ended up in the house of a souvenir collector. In Tõnu Lauk's opinion, the Old Thomas decayed quickly because in 1952, the statue was left unpainted. In addition, nothing was done to prevent the rusting of fixing details. In addition, the wooden structure was built improperly. Water flowed in and the tower rotted quickly. During the construction of the new tower and a vane, these mistakes were kept in mind. Old Thomas was primed with red tin, painted and partly gilded. The light-green vane is allegedly exactly the same as the original. Old Thomas' face, neck, feet, sword, flag and the tower sphere on which the statue stands are golden. It took about four grams of golden plates for all of this. The change occurred in 1992 from architect Böckler from AS Vana Tallinn. He stated that complete gilding was not common before. The first Old Thomas from the year 1530 was also partly gilded. The original of Old Thomas and the dragon-head-shaped gargoyles that are also partly gilded confirm that saying.
The spire had lost its initial shape until that time because of the many restoration projects over the years. The current tower is more like the Niguliste church. It is more slim so that there is no room to move in the external balcony. The current spire is more characteristic of the 17th century Late Renaissance period. Until the construction works in autumn, the spire was red but then it was coloured green. Reconstructing the tower cost the city administration 1.8 million crowns in the old currency (Estonian crowns). The money was taken from the town's budget.
Tallinn Town Hall's attic was cleaned in 2002 and 2003. The construction company demolished the chimney to "the level of the attic floor" that had emerged from the rubbish that had accumulated in the vaults. The people undertaking the demolition did not dig through it themselves. About 300 tonnes/70 truckloads of rubbish were carried out from the vault's top. The vast majority was the ground that filled the gaps between arch domes and which historically fulfilled the role of heating. More than 300 findings were found during the excavation, among them were unique documents and things. During the past ten years they have been examined, cleaned and preserved and a small selection of them is on exhibition in the town hall's attic. Letters written to the town council and aldermen from the 14th–16th centuries, medieval firefighting equipment, tools, revolutionary leaflets from the year 1905, and more are on display. Teddy Böckler (born 17 May 1930 – died 8 December 2005), was Tallinn Town Hall's restoration architect from 1959 until the last restoration phase that was finished according to his project in 2006.
Most of the elements of the interior decor were not thrown away as the town hall's architect back then – Böckler – thought that they were a nice, complete and dignified part of the interior. In addition to the citizen's hall furniture, carbon black polyester lacquer partition doors called piano doors, which were very fashionable at the time and are in harmony with the other black elements of the interior, remained. The director of the town hall, Elviira Liiver Holmström, said that in addition to being restored, the town hall was partly reconstructed. Because of this, the town hall kitchen got back its casing pipe, which was once demolished. The chimney is partly a stairway where a spiral staircase leads to the attic. The attic was cleaned of dust and renovated and has become a museum and place for exhibitions.
In 2003, on 17 April, a huge piece of chimney from the 17th century that had been found while excavating the layer of rubbish in the attic fell through the big hall's ceiling; the hall was closed to events until 5 May. According to Böckler, the human-height piece from the fireplace stayed untouched during the restoration works in the 1970s. Two-metre high parts on the foot chimney were cleaned during the excavation of the Town Hall's attic. The brick lost its support from friction and relied on the wooden cover of the vaulted ceiling, of which the rope broke at night. At the moment of the accident, there were no people in the room.
In 2008, a medieval well and different models were found under the floor. The accounting room located on the second floor that had been the aldermen's workroom – and from the end of the 19th century until the 1970s the mayor's cabinet – was innovated in the same year. Tallies from the 16th and 17th century were copied, the copies were exhibited and the whole room was redesigned.
In 2009, Tallinn Town Hall underwent repairs for two months from February to March and the building was closed. Major repairs were planned. Initially there were plans to make floor repairs and large renovations. Floor tiles from dolomite were planned to be replaced with limestone. In addition to excavation, an underground drainage was planned to be opened to examine its condition; in addition, the expected findings were intended to be exhibited. Due to the lack of money, the scale of the project declined. Repairs were done in the basement hall, but events were not held in the upper hall due to the construction dust and noise. The walls of the ceiling had become friable to the touch and had started to decay. The ceiling in the basement was cleaned from the hatched and dirty latex colour and whitewashed. In addition, repairs were made in the staff room, which was given new furniture and lighting, as the rooms were too dim before the repairs.

Answer: representative


Question: What are in this building?

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

In 1547, the Tallinn town council ordered arrases and bench tapestries. The tapestries were knitted using dyed wool with natural textile colors. They were made in the Netherlands in the city of Enghien. The details of the story of King Solomon are depicted in the tapestries. On each one there are three Tallinn coats of arms as an identification of the client and the year the tapestry was made (1547) is written above the coat of arms. Since 1937, these tapestries have belonged to the Tallinn City Museum. There are copies in the Tallinn Town Hall.
The nine-metre original of the Tallinn tapestries is kept in the Tallinn City Museum textile warehouse. The tapestries, which are five and a half centuries old, are so valuable that they cannot be touched with bare hands. The copy in Tallinn Town Hall was made in Oxford, England by a company named Hines of Oxford for the 600th birthday of the Tallinn Town Hall. The tapestry-making was directed by photographs and unfaded wool samples taken from the back of the carpet.
Göran Bo Hellers, a professor at the Royal Institute of Technology in Sweden, looked at the tapestry woven in the Netherlands in 1547 and found that a medieval political message is hidden in it, which invites Tallinn to join Europe. He thinks that the message in the tapestries invites Estonia to a Catholic state and under the central power of Brussels. Five hundred years before that happened, Karl V tried to connect different parts of Europe into a unitary Europe. He tried to become the ruler of the united Europe and the pictures depicted on the tapestries propagate that in 1547. The ancient King Solomon could represent Karl V himself, the emperor of Holy Roman Empire. The Netherlands, the country where the original tapestries were made, belonged to Catholic Emperor Karl at that time. Tallinn had become Lutheran during the Reformation. Five and a half centuries later the dream of Karl V came true. Despite some minor disagreements, Europe is more united than ever and Estonia is again a part of Europe.
The seven colorful tapestries that decorate the main building in Tallinn were ordered from the Netherlands by the alderman Arent Pakebusch, who had prepaid 150 marka. After finishing the tapestries in 1548, he paid 341.5 marka and 4 killings. Two eight-metre-long tapestries depict Israel's king and a country gold-coverer Solomon's stories about his life from the Old Testament.
Five shorter tapestries depict colorful plant ornaments. The tapestries were brought into the parlour of the Town Hall only in very solemn cases. The tapestry brought the room to life and made the walls, which act as wind baffle plates, warmer. Tallinn Town Hall ordered the medieval tapestries' copies from an Oxford company, Hines of Oxford.
According to the words of Elvira Liiver, it is a miracle that the tapestries have survived. In the 20th century, there were two occasions when Tallinn almost lost its valuable tapestries. In 1909, the city administration had very many Estonians in it despite Estonia belonging to the Russian empire. City commissioner and businessman Albert Koba wanted to sell the tapestries and build a school or a hospital with the money. The community stepped forward. Very many articles were published, even in the newspapers of Riga and Saint Petersburg. With the help of public pressure, the tapestries were not sold. During the First World War, the famous tapestries were taken in sealed boxes to Moscow to be safely hidden away for the duration of the war. They could easily have stayed there, as did the assets of the University of Tartu. Politician Jaan Poska managed to obtain the return of the tapestries, along with other valuables from Russia, with the Treaty of Tartu (Tartu Rahu). The tapestries have been the property of the City Museum (Linnamuuseum) since 1937.

Answer: copies


Question: What are in this building?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

In 1547, the Tallinn town council ordered arrases and bench tapestries. The tapestries were knitted using dyed wool with natural textile colors. They were made in the Netherlands in the city of Enghien. The details of the story of King Solomon are depicted in the tapestries. On each one there are three Tallinn coats of arms as an identification of the client and the year the tapestry was made (1547) is written above the coat of arms. Since 1937, these tapestries have belonged to the Tallinn City Museum. There are copies in the Tallinn Town Hall.
The nine-metre original of the Tallinn tapestries is kept in the Tallinn City Museum textile warehouse. The tapestries, which are five and a half centuries old, are so valuable that they cannot be touched with bare hands. The copy in Tallinn Town Hall was made in Oxford, England by a company named Hines of Oxford for the 600th birthday of the Tallinn Town Hall. The tapestry-making was directed by photographs and unfaded wool samples taken from the back of the carpet.
Göran Bo Hellers, a professor at the Royal Institute of Technology in Sweden, looked at the tapestry woven in the Netherlands in 1547 and found that a medieval political message is hidden in it, which invites Tallinn to join Europe. He thinks that the message in the tapestries invites Estonia to a Catholic state and under the central power of Brussels. Five hundred years before that happened, Karl V tried to connect different parts of Europe into a unitary Europe. He tried to become the ruler of the united Europe and the pictures depicted on the tapestries propagate that in 1547. The ancient King Solomon could represent Karl V himself, the emperor of Holy Roman Empire. The Netherlands, the country where the original tapestries were made, belonged to Catholic Emperor Karl at that time. Tallinn had become Lutheran during the Reformation. Five and a half centuries later the dream of Karl V came true. Despite some minor disagreements, Europe is more united than ever and Estonia is again a part of Europe.
The seven colorful tapestries that decorate the main building in Tallinn were ordered from the Netherlands by the alderman Arent Pakebusch, who had prepaid 150 marka. After finishing the tapestries in 1548, he paid 341.5 marka and 4 killings. Two eight-metre-long tapestries depict Israel's king and a country gold-coverer Solomon's stories about his life from the Old Testament.
Five shorter tapestries depict colorful plant ornaments. The tapestries were brought into the parlour of the Town Hall only in very solemn cases. The tapestry brought the room to life and made the walls, which act as wind baffle plates, warmer. Tallinn Town Hall ordered the medieval tapestries' copies from an Oxford company, Hines of Oxford.
According to the words of Elvira Liiver, it is a miracle that the tapestries have survived. In the 20th century, there were two occasions when Tallinn almost lost its valuable tapestries. In 1909, the city administration had very many Estonians in it despite Estonia belonging to the Russian empire. City commissioner and businessman Albert Koba wanted to sell the tapestries and build a school or a hospital with the money. The community stepped forward. Very many articles were published, even in the newspapers of Riga and Saint Petersburg. With the help of public pressure, the tapestries were not sold. During the First World War, the famous tapestries were taken in sealed boxes to Moscow to be safely hidden away for the duration of the war. They could easily have stayed there, as did the assets of the University of Tartu. Politician Jaan Poska managed to obtain the return of the tapestries, along with other valuables from Russia, with the Treaty of Tartu (Tartu Rahu). The tapestries have been the property of the City Museum (Linnamuuseum) since 1937.

Answer: copies


Question: What are in this building?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

In 1547, the Tallinn town council ordered arrases and bench tapestries. The tapestries were knitted using dyed wool with natural textile colors. They were made in the Netherlands in the city of Enghien. The details of the story of King Solomon are depicted in the tapestries. On each one there are three Tallinn coats of arms as an identification of the client and the year the tapestry was made (1547) is written above the coat of arms. Since 1937, these tapestries have belonged to the Tallinn City Museum. There are copies in the Tallinn Town Hall.
The nine-metre original of the Tallinn tapestries is kept in the Tallinn City Museum textile warehouse. The tapestries, which are five and a half centuries old, are so valuable that they cannot be touched with bare hands. The copy in Tallinn Town Hall was made in Oxford, England by a company named Hines of Oxford for the 600th birthday of the Tallinn Town Hall. The tapestry-making was directed by photographs and unfaded wool samples taken from the back of the carpet.
Göran Bo Hellers, a professor at the Royal Institute of Technology in Sweden, looked at the tapestry woven in the Netherlands in 1547 and found that a medieval political message is hidden in it, which invites Tallinn to join Europe. He thinks that the message in the tapestries invites Estonia to a Catholic state and under the central power of Brussels. Five hundred years before that happened, Karl V tried to connect different parts of Europe into a unitary Europe. He tried to become the ruler of the united Europe and the pictures depicted on the tapestries propagate that in 1547. The ancient King Solomon could represent Karl V himself, the emperor of Holy Roman Empire. The Netherlands, the country where the original tapestries were made, belonged to Catholic Emperor Karl at that time. Tallinn had become Lutheran during the Reformation. Five and a half centuries later the dream of Karl V came true. Despite some minor disagreements, Europe is more united than ever and Estonia is again a part of Europe.
The seven colorful tapestries that decorate the main building in Tallinn were ordered from the Netherlands by the alderman Arent Pakebusch, who had prepaid 150 marka. After finishing the tapestries in 1548, he paid 341.5 marka and 4 killings. Two eight-metre-long tapestries depict Israel's king and a country gold-coverer Solomon's stories about his life from the Old Testament.
Five shorter tapestries depict colorful plant ornaments. The tapestries were brought into the parlour of the Town Hall only in very solemn cases. The tapestry brought the room to life and made the walls, which act as wind baffle plates, warmer. Tallinn Town Hall ordered the medieval tapestries' copies from an Oxford company, Hines of Oxford.
According to the words of Elvira Liiver, it is a miracle that the tapestries have survived. In the 20th century, there were two occasions when Tallinn almost lost its valuable tapestries. In 1909, the city administration had very many Estonians in it despite Estonia belonging to the Russian empire. City commissioner and businessman Albert Koba wanted to sell the tapestries and build a school or a hospital with the money. The community stepped forward. Very many articles were published, even in the newspapers of Riga and Saint Petersburg. With the help of public pressure, the tapestries were not sold. During the First World War, the famous tapestries were taken in sealed boxes to Moscow to be safely hidden away for the duration of the war. They could easily have stayed there, as did the assets of the University of Tartu. Politician Jaan Poska managed to obtain the return of the tapestries, along with other valuables from Russia, with the Treaty of Tartu (Tartu Rahu). The tapestries have been the property of the City Museum (Linnamuuseum) since 1937.

Answer: copies


Question: What are in this building?

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

In 1547, the Tallinn town council ordered arrases and bench tapestries. The tapestries were knitted using dyed wool with natural textile colors. They were made in the Netherlands in the city of Enghien. The details of the story of King Solomon are depicted in the tapestries. On each one there are three Tallinn coats of arms as an identification of the client and the year the tapestry was made (1547) is written above the coat of arms. Since 1937, these tapestries have belonged to the Tallinn City Museum. There are copies in the Tallinn Town Hall.
The nine-metre original of the Tallinn tapestries is kept in the Tallinn City Museum textile warehouse. The tapestries, which are five and a half centuries old, are so valuable that they cannot be touched with bare hands. The copy in Tallinn Town Hall was made in Oxford, England by a company named Hines of Oxford for the 600th birthday of the Tallinn Town Hall. The tapestry-making was directed by photographs and unfaded wool samples taken from the back of the carpet.
Göran Bo Hellers, a professor at the Royal Institute of Technology in Sweden, looked at the tapestry woven in the Netherlands in 1547 and found that a medieval political message is hidden in it, which invites Tallinn to join Europe. He thinks that the message in the tapestries invites Estonia to a Catholic state and under the central power of Brussels. Five hundred years before that happened, Karl V tried to connect different parts of Europe into a unitary Europe. He tried to become the ruler of the united Europe and the pictures depicted on the tapestries propagate that in 1547. The ancient King Solomon could represent Karl V himself, the emperor of Holy Roman Empire. The Netherlands, the country where the original tapestries were made, belonged to Catholic Emperor Karl at that time. Tallinn had become Lutheran during the Reformation. Five and a half centuries later the dream of Karl V came true. Despite some minor disagreements, Europe is more united than ever and Estonia is again a part of Europe.
The seven colorful tapestries that decorate the main building in Tallinn were ordered from the Netherlands by the alderman Arent Pakebusch, who had prepaid 150 marka. After finishing the tapestries in 1548, he paid 341.5 marka and 4 killings. Two eight-metre-long tapestries depict Israel's king and a country gold-coverer Solomon's stories about his life from the Old Testament.
Five shorter tapestries depict colorful plant ornaments. The tapestries were brought into the parlour of the Town Hall only in very solemn cases. The tapestry brought the room to life and made the walls, which act as wind baffle plates, warmer. Tallinn Town Hall ordered the medieval tapestries' copies from an Oxford company, Hines of Oxford.
According to the words of Elvira Liiver, it is a miracle that the tapestries have survived. In the 20th century, there were two occasions when Tallinn almost lost its valuable tapestries. In 1909, the city administration had very many Estonians in it despite Estonia belonging to the Russian empire. City commissioner and businessman Albert Koba wanted to sell the tapestries and build a school or a hospital with the money. The community stepped forward. Very many articles were published, even in the newspapers of Riga and Saint Petersburg. With the help of public pressure, the tapestries were not sold. During the First World War, the famous tapestries were taken in sealed boxes to Moscow to be safely hidden away for the duration of the war. They could easily have stayed there, as did the assets of the University of Tartu. Politician Jaan Poska managed to obtain the return of the tapestries, along with other valuables from Russia, with the Treaty of Tartu (Tartu Rahu). The tapestries have been the property of the City Museum (Linnamuuseum) since 1937.

Answer: copies


Question: What are in this building?

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

In 1547, the Tallinn town council ordered arrases and bench tapestries. The tapestries were knitted using dyed wool with natural textile colors. They were made in the Netherlands in the city of Enghien. The details of the story of King Solomon are depicted in the tapestries. On each one there are three Tallinn coats of arms as an identification of the client and the year the tapestry was made (1547) is written above the coat of arms. Since 1937, these tapestries have belonged to the Tallinn City Museum. There are copies in the Tallinn Town Hall.
The nine-metre original of the Tallinn tapestries is kept in the Tallinn City Museum textile warehouse. The tapestries, which are five and a half centuries old, are so valuable that they cannot be touched with bare hands. The copy in Tallinn Town Hall was made in Oxford, England by a company named Hines of Oxford for the 600th birthday of the Tallinn Town Hall. The tapestry-making was directed by photographs and unfaded wool samples taken from the back of the carpet.
Göran Bo Hellers, a professor at the Royal Institute of Technology in Sweden, looked at the tapestry woven in the Netherlands in 1547 and found that a medieval political message is hidden in it, which invites Tallinn to join Europe. He thinks that the message in the tapestries invites Estonia to a Catholic state and under the central power of Brussels. Five hundred years before that happened, Karl V tried to connect different parts of Europe into a unitary Europe. He tried to become the ruler of the united Europe and the pictures depicted on the tapestries propagate that in 1547. The ancient King Solomon could represent Karl V himself, the emperor of Holy Roman Empire. The Netherlands, the country where the original tapestries were made, belonged to Catholic Emperor Karl at that time. Tallinn had become Lutheran during the Reformation. Five and a half centuries later the dream of Karl V came true. Despite some minor disagreements, Europe is more united than ever and Estonia is again a part of Europe.
The seven colorful tapestries that decorate the main building in Tallinn were ordered from the Netherlands by the alderman Arent Pakebusch, who had prepaid 150 marka. After finishing the tapestries in 1548, he paid 341.5 marka and 4 killings. Two eight-metre-long tapestries depict Israel's king and a country gold-coverer Solomon's stories about his life from the Old Testament.
Five shorter tapestries depict colorful plant ornaments. The tapestries were brought into the parlour of the Town Hall only in very solemn cases. The tapestry brought the room to life and made the walls, which act as wind baffle plates, warmer. Tallinn Town Hall ordered the medieval tapestries' copies from an Oxford company, Hines of Oxford.
According to the words of Elvira Liiver, it is a miracle that the tapestries have survived. In the 20th century, there were two occasions when Tallinn almost lost its valuable tapestries. In 1909, the city administration had very many Estonians in it despite Estonia belonging to the Russian empire. City commissioner and businessman Albert Koba wanted to sell the tapestries and build a school or a hospital with the money. The community stepped forward. Very many articles were published, even in the newspapers of Riga and Saint Petersburg. With the help of public pressure, the tapestries were not sold. During the First World War, the famous tapestries were taken in sealed boxes to Moscow to be safely hidden away for the duration of the war. They could easily have stayed there, as did the assets of the University of Tartu. Politician Jaan Poska managed to obtain the return of the tapestries, along with other valuables from Russia, with the Treaty of Tartu (Tartu Rahu). The tapestries have been the property of the City Museum (Linnamuuseum) since 1937.

Answer: copies


Question: When was a touring exhibition of this museum supposed to take place in berlin?

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

In 1977, the Empress of Iran, Farah Pahlavi, purchased expensive Western artwork, in order to open this contemporary art museum. This museum was a controversial act, because the country's social and economic inequalities were rising and the government at the time was acting as a dictatorship and not tolerating the rising opponents, a few years later the Iranian Revolution took place. A few art pieces did not survive the revolution including a public statue by Bahman Mohasses deemed un-Islamic and a 1977 Warhol painting, a portrait of Farah Pahlavi.
Le Monde art critic André Fermigier wrote an article in 1977 called "A museum for whom and for what?", "questioning the link between an Iranian child and a Picasso or a Pollock". And Farah Pahlavi responded to this criticism, noting that Iranians can understand modern art, not all Iranians were living in remote villages, and this issue with modern art was not unlike one that had existed in France.
A touring exhibitions was planned for autumn 2016 in Berlin, (Germany), consisting of a three-month tour of sixty artworks, half Western and half Iranian. The show was to run for three months in Berlin, then travel to the Maxxi Museum of 21st Century Arts in Rome for display from March through August. However, the plan has been indefinitely postponed because the Iranian authorities have failed to allow the paintings to leave the country, also noting after the revolution these painting have not yet been shown in Iran.
Collection curator Donna Stein wrote a memoir, The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (2021), because she felt she was not properly credited for her role in curating this collection.

WikiWeb_Tehran Museum of Contemporary Art_2

Answer: autumn 2016


Question: When was a touring exhibition of this museum supposed to take place in berlin?

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

In 1977, the Empress of Iran, Farah Pahlavi, purchased expensive Western artwork, in order to open this contemporary art museum. This museum was a controversial act, because the country's social and economic inequalities were rising and the government at the time was acting as a dictatorship and not tolerating the rising opponents, a few years later the Iranian Revolution took place. A few art pieces did not survive the revolution including a public statue by Bahman Mohasses deemed un-Islamic and a 1977 Warhol painting, a portrait of Farah Pahlavi.
Le Monde art critic André Fermigier wrote an article in 1977 called "A museum for whom and for what?", "questioning the link between an Iranian child and a Picasso or a Pollock". And Farah Pahlavi responded to this criticism, noting that Iranians can understand modern art, not all Iranians were living in remote villages, and this issue with modern art was not unlike one that had existed in France.
A touring exhibitions was planned for autumn 2016 in Berlin, (Germany), consisting of a three-month tour of sixty artworks, half Western and half Iranian. The show was to run for three months in Berlin, then travel to the Maxxi Museum of 21st Century Arts in Rome for display from March through August. However, the plan has been indefinitely postponed because the Iranian authorities have failed to allow the paintings to leave the country, also noting after the revolution these painting have not yet been shown in Iran.
Collection curator Donna Stein wrote a memoir, The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (2021), because she felt she was not properly credited for her role in curating this collection.

WikiWeb_Tehran Museum of Contemporary Art_2

Answer: autumn 2016


Question: When was a touring exhibition of this museum supposed to take place in berlin?

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

In 1977, the Empress of Iran, Farah Pahlavi, purchased expensive Western artwork, in order to open this contemporary art museum. This museum was a controversial act, because the country's social and economic inequalities were rising and the government at the time was acting as a dictatorship and not tolerating the rising opponents, a few years later the Iranian Revolution took place. A few art pieces did not survive the revolution including a public statue by Bahman Mohasses deemed un-Islamic and a 1977 Warhol painting, a portrait of Farah Pahlavi.
Le Monde art critic André Fermigier wrote an article in 1977 called "A museum for whom and for what?", "questioning the link between an Iranian child and a Picasso or a Pollock". And Farah Pahlavi responded to this criticism, noting that Iranians can understand modern art, not all Iranians were living in remote villages, and this issue with modern art was not unlike one that had existed in France.
A touring exhibitions was planned for autumn 2016 in Berlin, (Germany), consisting of a three-month tour of sixty artworks, half Western and half Iranian. The show was to run for three months in Berlin, then travel to the Maxxi Museum of 21st Century Arts in Rome for display from March through August. However, the plan has been indefinitely postponed because the Iranian authorities have failed to allow the paintings to leave the country, also noting after the revolution these painting have not yet been shown in Iran.
Collection curator Donna Stein wrote a memoir, The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (2021), because she felt she was not properly credited for her role in curating this collection.

WikiWeb_Tehran Museum of Contemporary Art_2

Answer: autumn 2016


Question: When was a touring exhibition of this museum supposed to take place in berlin?

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

In 1977, the Empress of Iran, Farah Pahlavi, purchased expensive Western artwork, in order to open this contemporary art museum. This museum was a controversial act, because the country's social and economic inequalities were rising and the government at the time was acting as a dictatorship and not tolerating the rising opponents, a few years later the Iranian Revolution took place. A few art pieces did not survive the revolution including a public statue by Bahman Mohasses deemed un-Islamic and a 1977 Warhol painting, a portrait of Farah Pahlavi.
Le Monde art critic André Fermigier wrote an article in 1977 called "A museum for whom and for what?", "questioning the link between an Iranian child and a Picasso or a Pollock". And Farah Pahlavi responded to this criticism, noting that Iranians can understand modern art, not all Iranians were living in remote villages, and this issue with modern art was not unlike one that had existed in France.
A touring exhibitions was planned for autumn 2016 in Berlin, (Germany), consisting of a three-month tour of sixty artworks, half Western and half Iranian. The show was to run for three months in Berlin, then travel to the Maxxi Museum of 21st Century Arts in Rome for display from March through August. However, the plan has been indefinitely postponed because the Iranian authorities have failed to allow the paintings to leave the country, also noting after the revolution these painting have not yet been shown in Iran.
Collection curator Donna Stein wrote a memoir, The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (2021), because she felt she was not properly credited for her role in curating this collection.

WikiWeb_Tehran Museum of Contemporary Art_2

Answer: autumn 2016


Question: When was a touring exhibition of this museum supposed to take place in berlin?

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

In 1977, the Empress of Iran, Farah Pahlavi, purchased expensive Western artwork, in order to open this contemporary art museum. This museum was a controversial act, because the country's social and economic inequalities were rising and the government at the time was acting as a dictatorship and not tolerating the rising opponents, a few years later the Iranian Revolution took place. A few art pieces did not survive the revolution including a public statue by Bahman Mohasses deemed un-Islamic and a 1977 Warhol painting, a portrait of Farah Pahlavi.
Le Monde art critic André Fermigier wrote an article in 1977 called "A museum for whom and for what?", "questioning the link between an Iranian child and a Picasso or a Pollock". And Farah Pahlavi responded to this criticism, noting that Iranians can understand modern art, not all Iranians were living in remote villages, and this issue with modern art was not unlike one that had existed in France.
A touring exhibitions was planned for autumn 2016 in Berlin, (Germany), consisting of a three-month tour of sixty artworks, half Western and half Iranian. The show was to run for three months in Berlin, then travel to the Maxxi Museum of 21st Century Arts in Rome for display from March through August. However, the plan has been indefinitely postponed because the Iranian authorities have failed to allow the paintings to leave the country, also noting after the revolution these painting have not yet been shown in Iran.
Collection curator Donna Stein wrote a memoir, The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (2021), because she felt she was not properly credited for her role in curating this collection.

WikiWeb_Tehran Museum of Contemporary Art_2

Answer: autumn 2016


Question: What is not known to be in the area of this temple during the bronze age?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

In its earliest phase of use during the Bronze Age, the eastern area of the hilltop was an unwalled, open-air sanctuary to a female fertility and agricultural deity.  Bronze Age figurines outnumber remains of pottery. Open vessel forms are also at an unusually high proportion versus closed vessels. There are no known settlements or burials in the vicinity, arguing against the remains being due to either usage. Large numbers of small pottery chariots and thrones and miniature vessels have been found. Although there are scattered remains dating to the Early Bronze Age such as two seal stones, remains in significant quantities begin to be deposited in the Middle Bronze Age, and the sanctuary has its peak use in the LHIIIa2 through LHIIIb periods. It is less easy to trace the cult through the Sub-Mycenean period and into the Geometric where cult activity is once more reasonably certain.

Answer: settlements or burials


Question: What is not known to be in the area of this temple during the bronze age?

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

In its earliest phase of use during the Bronze Age, the eastern area of the hilltop was an unwalled, open-air sanctuary to a female fertility and agricultural deity.  Bronze Age figurines outnumber remains of pottery. Open vessel forms are also at an unusually high proportion versus closed vessels. There are no known settlements or burials in the vicinity, arguing against the remains being due to either usage. Large numbers of small pottery chariots and thrones and miniature vessels have been found. Although there are scattered remains dating to the Early Bronze Age such as two seal stones, remains in significant quantities begin to be deposited in the Middle Bronze Age, and the sanctuary has its peak use in the LHIIIa2 through LHIIIb periods. It is less easy to trace the cult through the Sub-Mycenean period and into the Geometric where cult activity is once more reasonably certain.

Answer: settlements or burials


Question: What is not known to be in the area of this temple during the bronze age?

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

In its earliest phase of use during the Bronze Age, the eastern area of the hilltop was an unwalled, open-air sanctuary to a female fertility and agricultural deity.  Bronze Age figurines outnumber remains of pottery. Open vessel forms are also at an unusually high proportion versus closed vessels. There are no known settlements or burials in the vicinity, arguing against the remains being due to either usage. Large numbers of small pottery chariots and thrones and miniature vessels have been found. Although there are scattered remains dating to the Early Bronze Age such as two seal stones, remains in significant quantities begin to be deposited in the Middle Bronze Age, and the sanctuary has its peak use in the LHIIIa2 through LHIIIb periods. It is less easy to trace the cult through the Sub-Mycenean period and into the Geometric where cult activity is once more reasonably certain.

Answer: settlements or burials


Question: What is not known to be in the area of this temple during the bronze age?

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

In its earliest phase of use during the Bronze Age, the eastern area of the hilltop was an unwalled, open-air sanctuary to a female fertility and agricultural deity.  Bronze Age figurines outnumber remains of pottery. Open vessel forms are also at an unusually high proportion versus closed vessels. There are no known settlements or burials in the vicinity, arguing against the remains being due to either usage. Large numbers of small pottery chariots and thrones and miniature vessels have been found. Although there are scattered remains dating to the Early Bronze Age such as two seal stones, remains in significant quantities begin to be deposited in the Middle Bronze Age, and the sanctuary has its peak use in the LHIIIa2 through LHIIIb periods. It is less easy to trace the cult through the Sub-Mycenean period and into the Geometric where cult activity is once more reasonably certain.

Answer: settlements or burials


Question: What is not known to be in the area of this temple during the bronze age?

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

In its earliest phase of use during the Bronze Age, the eastern area of the hilltop was an unwalled, open-air sanctuary to a female fertility and agricultural deity.  Bronze Age figurines outnumber remains of pottery. Open vessel forms are also at an unusually high proportion versus closed vessels. There are no known settlements or burials in the vicinity, arguing against the remains being due to either usage. Large numbers of small pottery chariots and thrones and miniature vessels have been found. Although there are scattered remains dating to the Early Bronze Age such as two seal stones, remains in significant quantities begin to be deposited in the Middle Bronze Age, and the sanctuary has its peak use in the LHIIIa2 through LHIIIb periods. It is less easy to trace the cult through the Sub-Mycenean period and into the Geometric where cult activity is once more reasonably certain.

Answer: settlements or burials


Question: Who reconstructed this temple?

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

Ohly detected a (stone socle and mudbrick upper level) peribolos wall enclosing an area of c. 40 by 45 m dating to this phase. This peribolos was not aligned to the axis of the temple. A raised and paved platform was built to connect the temple to the altar. There was a propylon (formal entrance gate) with a wooden superstructure in the southeast side of the peribolos. A 14 m tall column topped by a sphinx was at the northeast side of the sanctuary. The full study and reconstruction of the temple was done by Schwandner, who dates it to before 570 BC. In his reconstruction, the temple is prostyle-tetrastyle in plan, and has a pronaos and – significantly – an adyton at the back of the cella.
As is the case at the temples of Artemis at Brauron and Aulis (among others), many temples of Artemis have such back rooms, which may indicate a similarity of cult practice.  The cella of the temple of Aphaia had the unusual feature of having two rows of two columns supporting another level of columns that reached the roof. The architrave of this temple was constructed in two courses, giving it a height of 1.19 m versus the frieze height of 0.815 m; this proportion is unusual among temples of the region, but is known from temples in Sicily. A triglyph and metope frieze is also placed along the inside of the pronaos.  These metopes were apparently undecorated with sculpture, and there is no evidence of pedimental sculpture. This temple and much of the sanctuary was destroyed by fire around 510 BC.

Answer: schwandner


Question: Who reconstructed this temple?

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

Ohly detected a (stone socle and mudbrick upper level) peribolos wall enclosing an area of c. 40 by 45 m dating to this phase. This peribolos was not aligned to the axis of the temple. A raised and paved platform was built to connect the temple to the altar. There was a propylon (formal entrance gate) with a wooden superstructure in the southeast side of the peribolos. A 14 m tall column topped by a sphinx was at the northeast side of the sanctuary. The full study and reconstruction of the temple was done by Schwandner, who dates it to before 570 BC. In his reconstruction, the temple is prostyle-tetrastyle in plan, and has a pronaos and – significantly – an adyton at the back of the cella.
As is the case at the temples of Artemis at Brauron and Aulis (among others), many temples of Artemis have such back rooms, which may indicate a similarity of cult practice.  The cella of the temple of Aphaia had the unusual feature of having two rows of two columns supporting another level of columns that reached the roof. The architrave of this temple was constructed in two courses, giving it a height of 1.19 m versus the frieze height of 0.815 m; this proportion is unusual among temples of the region, but is known from temples in Sicily. A triglyph and metope frieze is also placed along the inside of the pronaos.  These metopes were apparently undecorated with sculpture, and there is no evidence of pedimental sculpture. This temple and much of the sanctuary was destroyed by fire around 510 BC.

Answer: schwandner


Question: Who reconstructed this temple?

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

Ohly detected a (stone socle and mudbrick upper level) peribolos wall enclosing an area of c. 40 by 45 m dating to this phase. This peribolos was not aligned to the axis of the temple. A raised and paved platform was built to connect the temple to the altar. There was a propylon (formal entrance gate) with a wooden superstructure in the southeast side of the peribolos. A 14 m tall column topped by a sphinx was at the northeast side of the sanctuary. The full study and reconstruction of the temple was done by Schwandner, who dates it to before 570 BC. In his reconstruction, the temple is prostyle-tetrastyle in plan, and has a pronaos and – significantly – an adyton at the back of the cella.
As is the case at the temples of Artemis at Brauron and Aulis (among others), many temples of Artemis have such back rooms, which may indicate a similarity of cult practice.  The cella of the temple of Aphaia had the unusual feature of having two rows of two columns supporting another level of columns that reached the roof. The architrave of this temple was constructed in two courses, giving it a height of 1.19 m versus the frieze height of 0.815 m; this proportion is unusual among temples of the region, but is known from temples in Sicily. A triglyph and metope frieze is also placed along the inside of the pronaos.  These metopes were apparently undecorated with sculpture, and there is no evidence of pedimental sculpture. This temple and much of the sanctuary was destroyed by fire around 510 BC.

Answer: schwandner


Question: Who reconstructed this temple?

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

Ohly detected a (stone socle and mudbrick upper level) peribolos wall enclosing an area of c. 40 by 45 m dating to this phase. This peribolos was not aligned to the axis of the temple. A raised and paved platform was built to connect the temple to the altar. There was a propylon (formal entrance gate) with a wooden superstructure in the southeast side of the peribolos. A 14 m tall column topped by a sphinx was at the northeast side of the sanctuary. The full study and reconstruction of the temple was done by Schwandner, who dates it to before 570 BC. In his reconstruction, the temple is prostyle-tetrastyle in plan, and has a pronaos and – significantly – an adyton at the back of the cella.
As is the case at the temples of Artemis at Brauron and Aulis (among others), many temples of Artemis have such back rooms, which may indicate a similarity of cult practice.  The cella of the temple of Aphaia had the unusual feature of having two rows of two columns supporting another level of columns that reached the roof. The architrave of this temple was constructed in two courses, giving it a height of 1.19 m versus the frieze height of 0.815 m; this proportion is unusual among temples of the region, but is known from temples in Sicily. A triglyph and metope frieze is also placed along the inside of the pronaos.  These metopes were apparently undecorated with sculpture, and there is no evidence of pedimental sculpture. This temple and much of the sanctuary was destroyed by fire around 510 BC.

Answer: schwandner


Question: Who reconstructed this temple?

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

Ohly detected a (stone socle and mudbrick upper level) peribolos wall enclosing an area of c. 40 by 45 m dating to this phase. This peribolos was not aligned to the axis of the temple. A raised and paved platform was built to connect the temple to the altar. There was a propylon (formal entrance gate) with a wooden superstructure in the southeast side of the peribolos. A 14 m tall column topped by a sphinx was at the northeast side of the sanctuary. The full study and reconstruction of the temple was done by Schwandner, who dates it to before 570 BC. In his reconstruction, the temple is prostyle-tetrastyle in plan, and has a pronaos and – significantly – an adyton at the back of the cella.
As is the case at the temples of Artemis at Brauron and Aulis (among others), many temples of Artemis have such back rooms, which may indicate a similarity of cult practice.  The cella of the temple of Aphaia had the unusual feature of having two rows of two columns supporting another level of columns that reached the roof. The architrave of this temple was constructed in two courses, giving it a height of 1.19 m versus the frieze height of 0.815 m; this proportion is unusual among temples of the region, but is known from temples in Sicily. A triglyph and metope frieze is also placed along the inside of the pronaos.  These metopes were apparently undecorated with sculpture, and there is no evidence of pedimental sculpture. This temple and much of the sanctuary was destroyed by fire around 510 BC.

Answer: schwandner


Question: The eastern pediment of this temple uses the legs of whom to fill the difficult decreasing angles of the pediment?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

The first Trojan war, not the one described by Homer but the war of Heracles against the king of Troy Laomedon is the theme, with Telamon figuring prominently as he fights alongside Heracles against king Laomedon. This pediment is thought to be later than the west pediment and to show a number of features appropriate to the Classical period: the statues show a dynamic posture especially in the case of Athena, chiastic composition, and intricate filling of the space using the legs of fallen combatants to fill the difficult decreasing angles of the pediment. Part of the eastern pediment was destroyed during the Persian Wars, possibly by a thunderbolt. The statues that survived were set up in the sanctuary enclosure, and those that were destroyed, were buried according to the ancient custom. The old composition was replaced by a new one with a scene of a battle, again with Athena at the center.

Answer: fallen combatants


Question: The eastern pediment of this temple uses the legs of whom to fill the difficult decreasing angles of the pediment?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

The first Trojan war, not the one described by Homer but the war of Heracles against the king of Troy Laomedon is the theme, with Telamon figuring prominently as he fights alongside Heracles against king Laomedon. This pediment is thought to be later than the west pediment and to show a number of features appropriate to the Classical period: the statues show a dynamic posture especially in the case of Athena, chiastic composition, and intricate filling of the space using the legs of fallen combatants to fill the difficult decreasing angles of the pediment. Part of the eastern pediment was destroyed during the Persian Wars, possibly by a thunderbolt. The statues that survived were set up in the sanctuary enclosure, and those that were destroyed, were buried according to the ancient custom. The old composition was replaced by a new one with a scene of a battle, again with Athena at the center.

Answer: fallen combatants


Question: The eastern pediment of this temple uses the legs of whom to fill the difficult decreasing angles of the pediment?

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

The first Trojan war, not the one described by Homer but the war of Heracles against the king of Troy Laomedon is the theme, with Telamon figuring prominently as he fights alongside Heracles against king Laomedon. This pediment is thought to be later than the west pediment and to show a number of features appropriate to the Classical period: the statues show a dynamic posture especially in the case of Athena, chiastic composition, and intricate filling of the space using the legs of fallen combatants to fill the difficult decreasing angles of the pediment. Part of the eastern pediment was destroyed during the Persian Wars, possibly by a thunderbolt. The statues that survived were set up in the sanctuary enclosure, and those that were destroyed, were buried according to the ancient custom. The old composition was replaced by a new one with a scene of a battle, again with Athena at the center.

Answer: fallen combatants


Question: The eastern pediment of this temple uses the legs of whom to fill the difficult decreasing angles of the pediment?

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

The first Trojan war, not the one described by Homer but the war of Heracles against the king of Troy Laomedon is the theme, with Telamon figuring prominently as he fights alongside Heracles against king Laomedon. This pediment is thought to be later than the west pediment and to show a number of features appropriate to the Classical period: the statues show a dynamic posture especially in the case of Athena, chiastic composition, and intricate filling of the space using the legs of fallen combatants to fill the difficult decreasing angles of the pediment. Part of the eastern pediment was destroyed during the Persian Wars, possibly by a thunderbolt. The statues that survived were set up in the sanctuary enclosure, and those that were destroyed, were buried according to the ancient custom. The old composition was replaced by a new one with a scene of a battle, again with Athena at the center.

Answer: fallen combatants


Question: The eastern pediment of this temple uses the legs of whom to fill the difficult decreasing angles of the pediment?

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

The first Trojan war, not the one described by Homer but the war of Heracles against the king of Troy Laomedon is the theme, with Telamon figuring prominently as he fights alongside Heracles against king Laomedon. This pediment is thought to be later than the west pediment and to show a number of features appropriate to the Classical period: the statues show a dynamic posture especially in the case of Athena, chiastic composition, and intricate filling of the space using the legs of fallen combatants to fill the difficult decreasing angles of the pediment. Part of the eastern pediment was destroyed during the Persian Wars, possibly by a thunderbolt. The statues that survived were set up in the sanctuary enclosure, and those that were destroyed, were buried according to the ancient custom. The old composition was replaced by a new one with a scene of a battle, again with Athena at the center.

Answer: fallen combatants


Question: On what page of the cambridge illustrated history of ancient greece is this temple mentioned?

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

Bankel, Hansgeorg. 1993. Der spätarchaische Tempel der Aphaia auf Aegina. Denkmäler antiker Architektur 19. Berlin; New York: W. de Gruyter. ISBN 9783110128086.
Cartledge, Paul, Ed., 2002. The Cambridge Illustrated History of Ancient Greece, Cambridge University Press, p. 273.
Cook, R. M. 1974. The Dating of the Aegina Pediments. Journal of Hellenic Studies, 94 pp. 171. doi:10.2307/630432
Diebold, William J. 1995. "The Politics of Derestoration: The Aegina Pediments and the German Confrontation with the Past." Art Journal, 54, no2 pp. 60–66.
Furtwängler, Adolf, Ernst R. Fiechter and Hermann Thiersch. 1906. Aegina, das Heiligthum der Aphaia. München: Verlag der K. B. Akademie der wissenschaften in Kommission des G. Franz’schen Verlags (J. Roth).
Furtwängler, Adolf. 1906. Die Aegineten der Glyptothek König Ludwigs I, nach den Resultaten der neuen Bayerischen Ausgrabung. München: Glyptothek: in Kommission bei A. Buchholz.
Glancey, Jonathan, Architecture, Doring Kindersley, Ltd.:2006, p. 96.
Invernizzi, Antonio. 1965. I frontoni del Tempio di Aphaia ad Egina. Torino: Giappichelli.
Ohly, Dieter. 1977. Tempel und Heiligtum der Aphaia auf Ägina. München: Beck.
Pilafidis-Williams, Korinna. 1987. The Sanctuary of Aphaia on Aigina in the Bronze Age. Munich: Hirmer Verlag. ISBN 9783777480107
Schildt, Arthur. Die Giebelgruppen von Aegina. Leipzig : [H. Meyer], 1895.
Schwandner, Ernst-Ludwig. 1985. Der ältere Porostempel der Aphaia auf Aegina. Berlin: W. de Gruyter. ISBN 9783110102796.
Webster, T. B. L. 1931. "The Temple of Aphaia at Aegina," Journal of Hellenic Studies, 51: 2, pp. 179–183.

Answer: 273


Question: On what page of the cambridge illustrated history of ancient greece is this temple mentioned?

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

Bankel, Hansgeorg. 1993. Der spätarchaische Tempel der Aphaia auf Aegina. Denkmäler antiker Architektur 19. Berlin; New York: W. de Gruyter. ISBN 9783110128086.
Cartledge, Paul, Ed., 2002. The Cambridge Illustrated History of Ancient Greece, Cambridge University Press, p. 273.
Cook, R. M. 1974. The Dating of the Aegina Pediments. Journal of Hellenic Studies, 94 pp. 171. doi:10.2307/630432
Diebold, William J. 1995. "The Politics of Derestoration: The Aegina Pediments and the German Confrontation with the Past." Art Journal, 54, no2 pp. 60–66.
Furtwängler, Adolf, Ernst R. Fiechter and Hermann Thiersch. 1906. Aegina, das Heiligthum der Aphaia. München: Verlag der K. B. Akademie der wissenschaften in Kommission des G. Franz’schen Verlags (J. Roth).
Furtwängler, Adolf. 1906. Die Aegineten der Glyptothek König Ludwigs I, nach den Resultaten der neuen Bayerischen Ausgrabung. München: Glyptothek: in Kommission bei A. Buchholz.
Glancey, Jonathan, Architecture, Doring Kindersley, Ltd.:2006, p. 96.
Invernizzi, Antonio. 1965. I frontoni del Tempio di Aphaia ad Egina. Torino: Giappichelli.
Ohly, Dieter. 1977. Tempel und Heiligtum der Aphaia auf Ägina. München: Beck.
Pilafidis-Williams, Korinna. 1987. The Sanctuary of Aphaia on Aigina in the Bronze Age. Munich: Hirmer Verlag. ISBN 9783777480107
Schildt, Arthur. Die Giebelgruppen von Aegina. Leipzig : [H. Meyer], 1895.
Schwandner, Ernst-Ludwig. 1985. Der ältere Porostempel der Aphaia auf Aegina. Berlin: W. de Gruyter. ISBN 9783110102796.
Webster, T. B. L. 1931. "The Temple of Aphaia at Aegina," Journal of Hellenic Studies, 51: 2, pp. 179–183.

Answer: 273


Question: On what page of the cambridge illustrated history of ancient greece is this temple mentioned?

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

Bankel, Hansgeorg. 1993. Der spätarchaische Tempel der Aphaia auf Aegina. Denkmäler antiker Architektur 19. Berlin; New York: W. de Gruyter. ISBN 9783110128086.
Cartledge, Paul, Ed., 2002. The Cambridge Illustrated History of Ancient Greece, Cambridge University Press, p. 273.
Cook, R. M. 1974. The Dating of the Aegina Pediments. Journal of Hellenic Studies, 94 pp. 171. doi:10.2307/630432
Diebold, William J. 1995. "The Politics of Derestoration: The Aegina Pediments and the German Confrontation with the Past." Art Journal, 54, no2 pp. 60–66.
Furtwängler, Adolf, Ernst R. Fiechter and Hermann Thiersch. 1906. Aegina, das Heiligthum der Aphaia. München: Verlag der K. B. Akademie der wissenschaften in Kommission des G. Franz’schen Verlags (J. Roth).
Furtwängler, Adolf. 1906. Die Aegineten der Glyptothek König Ludwigs I, nach den Resultaten der neuen Bayerischen Ausgrabung. München: Glyptothek: in Kommission bei A. Buchholz.
Glancey, Jonathan, Architecture, Doring Kindersley, Ltd.:2006, p. 96.
Invernizzi, Antonio. 1965. I frontoni del Tempio di Aphaia ad Egina. Torino: Giappichelli.
Ohly, Dieter. 1977. Tempel und Heiligtum der Aphaia auf Ägina. München: Beck.
Pilafidis-Williams, Korinna. 1987. The Sanctuary of Aphaia on Aigina in the Bronze Age. Munich: Hirmer Verlag. ISBN 9783777480107
Schildt, Arthur. Die Giebelgruppen von Aegina. Leipzig : [H. Meyer], 1895.
Schwandner, Ernst-Ludwig. 1985. Der ältere Porostempel der Aphaia auf Aegina. Berlin: W. de Gruyter. ISBN 9783110102796.
Webster, T. B. L. 1931. "The Temple of Aphaia at Aegina," Journal of Hellenic Studies, 51: 2, pp. 179–183.

Answer: 273


Question: On what page of the cambridge illustrated history of ancient greece is this temple mentioned?

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

Bankel, Hansgeorg. 1993. Der spätarchaische Tempel der Aphaia auf Aegina. Denkmäler antiker Architektur 19. Berlin; New York: W. de Gruyter. ISBN 9783110128086.
Cartledge, Paul, Ed., 2002. The Cambridge Illustrated History of Ancient Greece, Cambridge University Press, p. 273.
Cook, R. M. 1974. The Dating of the Aegina Pediments. Journal of Hellenic Studies, 94 pp. 171. doi:10.2307/630432
Diebold, William J. 1995. "The Politics of Derestoration: The Aegina Pediments and the German Confrontation with the Past." Art Journal, 54, no2 pp. 60–66.
Furtwängler, Adolf, Ernst R. Fiechter and Hermann Thiersch. 1906. Aegina, das Heiligthum der Aphaia. München: Verlag der K. B. Akademie der wissenschaften in Kommission des G. Franz’schen Verlags (J. Roth).
Furtwängler, Adolf. 1906. Die Aegineten der Glyptothek König Ludwigs I, nach den Resultaten der neuen Bayerischen Ausgrabung. München: Glyptothek: in Kommission bei A. Buchholz.
Glancey, Jonathan, Architecture, Doring Kindersley, Ltd.:2006, p. 96.
Invernizzi, Antonio. 1965. I frontoni del Tempio di Aphaia ad Egina. Torino: Giappichelli.
Ohly, Dieter. 1977. Tempel und Heiligtum der Aphaia auf Ägina. München: Beck.
Pilafidis-Williams, Korinna. 1987. The Sanctuary of Aphaia on Aigina in the Bronze Age. Munich: Hirmer Verlag. ISBN 9783777480107
Schildt, Arthur. Die Giebelgruppen von Aegina. Leipzig : [H. Meyer], 1895.
Schwandner, Ernst-Ludwig. 1985. Der ältere Porostempel der Aphaia auf Aegina. Berlin: W. de Gruyter. ISBN 9783110102796.
Webster, T. B. L. 1931. "The Temple of Aphaia at Aegina," Journal of Hellenic Studies, 51: 2, pp. 179–183.

Answer: 273


Question: On what page of the cambridge illustrated history of ancient greece is this temple mentioned?

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

Bankel, Hansgeorg. 1993. Der spätarchaische Tempel der Aphaia auf Aegina. Denkmäler antiker Architektur 19. Berlin; New York: W. de Gruyter. ISBN 9783110128086.
Cartledge, Paul, Ed., 2002. The Cambridge Illustrated History of Ancient Greece, Cambridge University Press, p. 273.
Cook, R. M. 1974. The Dating of the Aegina Pediments. Journal of Hellenic Studies, 94 pp. 171. doi:10.2307/630432
Diebold, William J. 1995. "The Politics of Derestoration: The Aegina Pediments and the German Confrontation with the Past." Art Journal, 54, no2 pp. 60–66.
Furtwängler, Adolf, Ernst R. Fiechter and Hermann Thiersch. 1906. Aegina, das Heiligthum der Aphaia. München: Verlag der K. B. Akademie der wissenschaften in Kommission des G. Franz’schen Verlags (J. Roth).
Furtwängler, Adolf. 1906. Die Aegineten der Glyptothek König Ludwigs I, nach den Resultaten der neuen Bayerischen Ausgrabung. München: Glyptothek: in Kommission bei A. Buchholz.
Glancey, Jonathan, Architecture, Doring Kindersley, Ltd.:2006, p. 96.
Invernizzi, Antonio. 1965. I frontoni del Tempio di Aphaia ad Egina. Torino: Giappichelli.
Ohly, Dieter. 1977. Tempel und Heiligtum der Aphaia auf Ägina. München: Beck.
Pilafidis-Williams, Korinna. 1987. The Sanctuary of Aphaia on Aigina in the Bronze Age. Munich: Hirmer Verlag. ISBN 9783777480107
Schildt, Arthur. Die Giebelgruppen von Aegina. Leipzig : [H. Meyer], 1895.
Schwandner, Ernst-Ludwig. 1985. Der ältere Porostempel der Aphaia auf Aegina. Berlin: W. de Gruyter. ISBN 9783110102796.
Webster, T. B. L. 1931. "The Temple of Aphaia at Aegina," Journal of Hellenic Studies, 51: 2, pp. 179–183.

Answer: 273


Question: What type of installation did deep dive systems handle for this art installation?

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

Christo and Jeanne-Claude began conceptualizing of The Floating Piers in 1970. Their initial site was Rio de la Plata between Argentina and Uruguay. The couple also considered Tokyo Bay as a location before moving on to other projects.
In late 2013, Christo settled on Lake Iseo as the location for The Floating Piers and dedicated the next 22 months to realizing the project. It was the first major project he undertook after the death of his partner and collaborator Jeanne-Claude.
The project was estimated to cost $11 million, but was later reported at closer to $17 million. The funds were raised by Christo himself through sales of his project sketches and original art. Permits took less than a year.
The physical installation of the piers was handled by Deep Dive Systems, a company based in Bulgaria. They installed about 220 six-ton anchors in the lake floor at depths of up to 92 meters, over a period of three months. 226,000 cubes were then attached to those anchors, and covered by 70,000 square meters of nylon fabric. Over 600 workers were involved in the installation. Traffic planning required a 175-page document and cost €100,000 to produce.
The fabric was cut and confectioned by the company geo - Die Luftwerker e.K. located in Lübeck. This company was also involved in the 3D measurement and installation.

Answer: physical


Question: What type of installation did deep dive systems handle for this art installation?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

Christo and Jeanne-Claude began conceptualizing of The Floating Piers in 1970. Their initial site was Rio de la Plata between Argentina and Uruguay. The couple also considered Tokyo Bay as a location before moving on to other projects.
In late 2013, Christo settled on Lake Iseo as the location for The Floating Piers and dedicated the next 22 months to realizing the project. It was the first major project he undertook after the death of his partner and collaborator Jeanne-Claude.
The project was estimated to cost $11 million, but was later reported at closer to $17 million. The funds were raised by Christo himself through sales of his project sketches and original art. Permits took less than a year.
The physical installation of the piers was handled by Deep Dive Systems, a company based in Bulgaria. They installed about 220 six-ton anchors in the lake floor at depths of up to 92 meters, over a period of three months. 226,000 cubes were then attached to those anchors, and covered by 70,000 square meters of nylon fabric. Over 600 workers were involved in the installation. Traffic planning required a 175-page document and cost €100,000 to produce.
The fabric was cut and confectioned by the company geo - Die Luftwerker e.K. located in Lübeck. This company was also involved in the 3D measurement and installation.

Answer: physical


Question: What type of installation did deep dive systems handle for this art installation?

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

Christo and Jeanne-Claude began conceptualizing of The Floating Piers in 1970. Their initial site was Rio de la Plata between Argentina and Uruguay. The couple also considered Tokyo Bay as a location before moving on to other projects.
In late 2013, Christo settled on Lake Iseo as the location for The Floating Piers and dedicated the next 22 months to realizing the project. It was the first major project he undertook after the death of his partner and collaborator Jeanne-Claude.
The project was estimated to cost $11 million, but was later reported at closer to $17 million. The funds were raised by Christo himself through sales of his project sketches and original art. Permits took less than a year.
The physical installation of the piers was handled by Deep Dive Systems, a company based in Bulgaria. They installed about 220 six-ton anchors in the lake floor at depths of up to 92 meters, over a period of three months. 226,000 cubes were then attached to those anchors, and covered by 70,000 square meters of nylon fabric. Over 600 workers were involved in the installation. Traffic planning required a 175-page document and cost €100,000 to produce.
The fabric was cut and confectioned by the company geo - Die Luftwerker e.K. located in Lübeck. This company was also involved in the 3D measurement and installation.

Answer: physical


Question: What type of installation did deep dive systems handle for this art installation?

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

Christo and Jeanne-Claude began conceptualizing of The Floating Piers in 1970. Their initial site was Rio de la Plata between Argentina and Uruguay. The couple also considered Tokyo Bay as a location before moving on to other projects.
In late 2013, Christo settled on Lake Iseo as the location for The Floating Piers and dedicated the next 22 months to realizing the project. It was the first major project he undertook after the death of his partner and collaborator Jeanne-Claude.
The project was estimated to cost $11 million, but was later reported at closer to $17 million. The funds were raised by Christo himself through sales of his project sketches and original art. Permits took less than a year.
The physical installation of the piers was handled by Deep Dive Systems, a company based in Bulgaria. They installed about 220 six-ton anchors in the lake floor at depths of up to 92 meters, over a period of three months. 226,000 cubes were then attached to those anchors, and covered by 70,000 square meters of nylon fabric. Over 600 workers were involved in the installation. Traffic planning required a 175-page document and cost €100,000 to produce.
The fabric was cut and confectioned by the company geo - Die Luftwerker e.K. located in Lübeck. This company was also involved in the 3D measurement and installation.

Answer: physical


Question: What type of installation did deep dive systems handle for this art installation?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

Christo and Jeanne-Claude began conceptualizing of The Floating Piers in 1970. Their initial site was Rio de la Plata between Argentina and Uruguay. The couple also considered Tokyo Bay as a location before moving on to other projects.
In late 2013, Christo settled on Lake Iseo as the location for The Floating Piers and dedicated the next 22 months to realizing the project. It was the first major project he undertook after the death of his partner and collaborator Jeanne-Claude.
The project was estimated to cost $11 million, but was later reported at closer to $17 million. The funds were raised by Christo himself through sales of his project sketches and original art. Permits took less than a year.
The physical installation of the piers was handled by Deep Dive Systems, a company based in Bulgaria. They installed about 220 six-ton anchors in the lake floor at depths of up to 92 meters, over a period of three months. 226,000 cubes were then attached to those anchors, and covered by 70,000 square meters of nylon fabric. Over 600 workers were involved in the installation. Traffic planning required a 175-page document and cost €100,000 to produce.
The fabric was cut and confectioned by the company geo - Die Luftwerker e.K. located in Lübeck. This company was also involved in the 3D measurement and installation.

Answer: physical


Question: How many people did this art installation attract?

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

On 3 July 2016, the work closed to the public. Local officials estimated that it had attracted 1.2 million visitors, or an average of 72,000 per day, over its 16-day run. Police estimates were even higher, at 100,000 visitors per day. Dismantling of the project began in the early morning of 4 July 2016.

Answer: 1.2 million


Question: How many people did this art installation attract?

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

On 3 July 2016, the work closed to the public. Local officials estimated that it had attracted 1.2 million visitors, or an average of 72,000 per day, over its 16-day run. Police estimates were even higher, at 100,000 visitors per day. Dismantling of the project began in the early morning of 4 July 2016.

Answer: 1.2 million


Question: How many people did this art installation attract?

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

On 3 July 2016, the work closed to the public. Local officials estimated that it had attracted 1.2 million visitors, or an average of 72,000 per day, over its 16-day run. Police estimates were even higher, at 100,000 visitors per day. Dismantling of the project began in the early morning of 4 July 2016.

Answer: 1.2 million


Question: How many people did this art installation attract?

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

On 3 July 2016, the work closed to the public. Local officials estimated that it had attracted 1.2 million visitors, or an average of 72,000 per day, over its 16-day run. Police estimates were even higher, at 100,000 visitors per day. Dismantling of the project began in the early morning of 4 July 2016.

Answer: 1.2 million


Question: How many people did this art installation attract?

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

On 3 July 2016, the work closed to the public. Local officials estimated that it had attracted 1.2 million visitors, or an average of 72,000 per day, over its 16-day run. Police estimates were even higher, at 100,000 visitors per day. Dismantling of the project began in the early morning of 4 July 2016.

Answer: 1.2 million


Question: What is the capacity of this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,500


Question: What is the capacity of this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,500


Question: What is the capacity of this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,500


Question: What is the record attendance at this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,215


Question: What is the record attendance at this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,215


Question: What is the record attendance at this stadium?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,215


Question: What is the name of the women's football team that plays at this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: london bees


Question: What is the name of the women's football team that plays at this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: london bees


Question: What is the name of the women's football team that plays at this stadium?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: london bees


Question: What national league football club calls this stadium home?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: barnet


Question: What national league football club calls this stadium home?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: barnet


Question: What national league football club calls this stadium home?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: barnet


Question: What is this stadium's record attendance?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,215


Question: What is this stadium's record attendance?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,215


Question: What is this stadium's record attendance?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 6,215


Question: In what year was this stadium's record attendance set?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 2019


Question: In what year was this stadium's record attendance set?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 2019


Question: In what year was this stadium's record attendance set?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: 2019


Question: Is the prince edward playing fields a current or former site of this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: former


Question: Is the prince edward playing fields a current or former site of this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: former


Question: Is the prince edward playing fields a current or former site of this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: former


Question: What is this stadium to barnet?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: home


Question: What is this stadium to barnet?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: home


Question: What is this stadium to barnet?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: home


Question: What type of building is this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: stadium


Question: What type of building is this stadium?

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

The Hive Stadium is a stadium in Canons Park, north-west London, on the former site of the Prince Edward Playing Fields in the London Borough of Harrow. The stadium is home to National League football club Barnet, London Bees of the FA Women's Championship and formerly Tottenham Hotspur F.C. Women of the FA WSL from 2019–2022.
The stadium's official total capacity is 6,500 and its current record attendance is 6,215, set on 28 January 2019 for Barnet's 3–3 draw with Brentford.

Answer: stadium