Question: In which city is this museum located?

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Eggenberg Palace (German: Schloss Eggenberg) in Graz, is the most significant Baroque palace complex in the Austrian province of Styria. With its preserved accouterments, the extensive scenic gardens, as well as some special collections from the Universalmuseum Joanneum housed in the palace and surrounding park, Schloss Eggenberg ranks among the most valuable cultural treasures of Austria. Eggenberg Palace is situated at an elevation of 381 meters on the Western edge of the city. Its architectural design and the still visible imprint of centuries of history continue to bear witness to the vicissitude and patronage of the one-time mightiest dynasty in Styria, the House of Eggenberg.
In 2010, the significance of Schloss Eggenberg was recognised with an expansion to the listing of the Graz Historic Old Town among the UNESCO World Cultural Heritage Sites.
Surrounded by walls, with a huge portal facing West, the palace is located in the Eggenberg district of Graz and can be reached by tram. The northern corner of the palace grounds features the Planetary Garden and Lapidarium of Roman stonework as well as the entrance to the new Archeology Museum, which houses the Cult Wagon of Strettweg. At ground level, the palace houses a numismatic collection (Coin Cabinet) located in the former rooms of Balthasar Eggenberger, owner of the imperial minting license and operations in the Late Middle Ages. On the upper level, the Alte Galerie encompasses a large array of paintings, sculptures, and other works of art from the medieval era through the early modern period, spanning five centuries of European art history.

Answer: styria


Question: In which city is this museum located?

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Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: keno city


Question: In which city is this museum located?

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

Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: keno city


Question: In which city is this museum located?

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

Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: keno city


Question: In which city is this museum located?

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

Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: keno city


Question: When was this building built?

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

Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: 1922


Question: When was this building built?

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

Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: 1922


Question: When was this building built?

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

Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: 1922


Question: When was this building built?

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

Keno City Mining Museum is a history museum located in Keno City, Yukon, Canada. It was established around 1979 and has artifacts related to the area's gold and silver mining.
The museum occupies Jackson Hall, the city's former community centre built in 1922.
It was established in 1979 with the assistance of Terry J. Levicki, a geologist who worked for United Keno Hill Mines Ltd., a company in Elsa.
The museum is open to visitors from June to September. Around 1991, the museum received roughly 500 visitors each month during its annual four months of operation.

Answer: 1922


Question: In which city is this museum located?

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

The Civic Museum of Palazzo Mosca (Musei Civici di Palazzo Mosca) is the main civic museum of Pesaro, displaying art and decorative works, located in Piazza Mosca in this town of the region of the Marche, Italy.

Answer: pesaro


Question: In which city is this museum located?

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

The Civic Museum of Palazzo Mosca (Musei Civici di Palazzo Mosca) is the main civic museum of Pesaro, displaying art and decorative works, located in Piazza Mosca in this town of the region of the Marche, Italy.

Answer: pesaro


Question: In which city is this museum located?

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

The Civic Museum of Palazzo Mosca (Musei Civici di Palazzo Mosca) is the main civic museum of Pesaro, displaying art and decorative works, located in Piazza Mosca in this town of the region of the Marche, Italy.

Answer: pesaro


Question: In which city is this museum located?

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The Civic Museum of Palazzo Mosca (Musei Civici di Palazzo Mosca) is the main civic museum of Pesaro, displaying art and decorative works, located in Piazza Mosca in this town of the region of the Marche, Italy.

Answer: pesaro


Question: Where does this palace derive its name from?

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The plan of the Hindola Mahal is a T-shape, though examination of the exterior walls leads to the conclusion that the crossbar was added later.  The vertical mast of the plan consists of one main hall measuring 30 by 18 metres (98 by 59 feet) and 12 metres (39 feet) high.  Its lateral walls are 3 metres (9.8 feet) thick and further reinforced by massive inclined buttresses that angle over 77 degrees.  These highly inclined buttresses give the Hindola Mahal (Swinging Palace) its name.  They also neutralize the outward force of five massive ogee arches that once supported the large flat roof of the main hall.  On each exterior of the long sides of the main hall are six recessed arches which hold doors in their lower sections and three slabs of open-work stone windows to let in air and light.  A high wall holds battlements on the roof of the building.
The crossbar of the Hindola Mahal is of about the same proportions as the main hall but is split into two tiers.  The upper floor, which is divided into two rooms, looks onto the main hall through an arched opening.  The ground floor consists of a cruciform gallery with arms that extend to another entrance to the building and an arch to the main hall.
The Hindola Mahal represents the characteristic elements of the architectural style of the Malwa period (1400–1550): simplicity, boldness, and well-proportioned.  The Hindola Mahal emphasizes its architectural simplicity with minimal ornamentation and stands out boldly through massive inclined buttresses.  These elements make the Hindola Mahal a unique exaggerated example of the Malwa style.  In addition, the pointed arches on the building’s interior reflect how Malwa architecture was influenced by the Delhi styles.

Answer: highly inclined buttresses


Question: Where does this palace derive its name from?

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

The plan of the Hindola Mahal is a T-shape, though examination of the exterior walls leads to the conclusion that the crossbar was added later.  The vertical mast of the plan consists of one main hall measuring 30 by 18 metres (98 by 59 feet) and 12 metres (39 feet) high.  Its lateral walls are 3 metres (9.8 feet) thick and further reinforced by massive inclined buttresses that angle over 77 degrees.  These highly inclined buttresses give the Hindola Mahal (Swinging Palace) its name.  They also neutralize the outward force of five massive ogee arches that once supported the large flat roof of the main hall.  On each exterior of the long sides of the main hall are six recessed arches which hold doors in their lower sections and three slabs of open-work stone windows to let in air and light.  A high wall holds battlements on the roof of the building.
The crossbar of the Hindola Mahal is of about the same proportions as the main hall but is split into two tiers.  The upper floor, which is divided into two rooms, looks onto the main hall through an arched opening.  The ground floor consists of a cruciform gallery with arms that extend to another entrance to the building and an arch to the main hall.
The Hindola Mahal represents the characteristic elements of the architectural style of the Malwa period (1400–1550): simplicity, boldness, and well-proportioned.  The Hindola Mahal emphasizes its architectural simplicity with minimal ornamentation and stands out boldly through massive inclined buttresses.  These elements make the Hindola Mahal a unique exaggerated example of the Malwa style.  In addition, the pointed arches on the building’s interior reflect how Malwa architecture was influenced by the Delhi styles.

Answer: highly inclined buttresses


Question: Where does this palace derive its name from?

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

The plan of the Hindola Mahal is a T-shape, though examination of the exterior walls leads to the conclusion that the crossbar was added later.  The vertical mast of the plan consists of one main hall measuring 30 by 18 metres (98 by 59 feet) and 12 metres (39 feet) high.  Its lateral walls are 3 metres (9.8 feet) thick and further reinforced by massive inclined buttresses that angle over 77 degrees.  These highly inclined buttresses give the Hindola Mahal (Swinging Palace) its name.  They also neutralize the outward force of five massive ogee arches that once supported the large flat roof of the main hall.  On each exterior of the long sides of the main hall are six recessed arches which hold doors in their lower sections and three slabs of open-work stone windows to let in air and light.  A high wall holds battlements on the roof of the building.
The crossbar of the Hindola Mahal is of about the same proportions as the main hall but is split into two tiers.  The upper floor, which is divided into two rooms, looks onto the main hall through an arched opening.  The ground floor consists of a cruciform gallery with arms that extend to another entrance to the building and an arch to the main hall.
The Hindola Mahal represents the characteristic elements of the architectural style of the Malwa period (1400–1550): simplicity, boldness, and well-proportioned.  The Hindola Mahal emphasizes its architectural simplicity with minimal ornamentation and stands out boldly through massive inclined buttresses.  These elements make the Hindola Mahal a unique exaggerated example of the Malwa style.  In addition, the pointed arches on the building’s interior reflect how Malwa architecture was influenced by the Delhi styles.

Answer: highly inclined buttresses


Question: Where does this palace derive its name from?

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

The plan of the Hindola Mahal is a T-shape, though examination of the exterior walls leads to the conclusion that the crossbar was added later.  The vertical mast of the plan consists of one main hall measuring 30 by 18 metres (98 by 59 feet) and 12 metres (39 feet) high.  Its lateral walls are 3 metres (9.8 feet) thick and further reinforced by massive inclined buttresses that angle over 77 degrees.  These highly inclined buttresses give the Hindola Mahal (Swinging Palace) its name.  They also neutralize the outward force of five massive ogee arches that once supported the large flat roof of the main hall.  On each exterior of the long sides of the main hall are six recessed arches which hold doors in their lower sections and three slabs of open-work stone windows to let in air and light.  A high wall holds battlements on the roof of the building.
The crossbar of the Hindola Mahal is of about the same proportions as the main hall but is split into two tiers.  The upper floor, which is divided into two rooms, looks onto the main hall through an arched opening.  The ground floor consists of a cruciform gallery with arms that extend to another entrance to the building and an arch to the main hall.
The Hindola Mahal represents the characteristic elements of the architectural style of the Malwa period (1400–1550): simplicity, boldness, and well-proportioned.  The Hindola Mahal emphasizes its architectural simplicity with minimal ornamentation and stands out boldly through massive inclined buttresses.  These elements make the Hindola Mahal a unique exaggerated example of the Malwa style.  In addition, the pointed arches on the building’s interior reflect how Malwa architecture was influenced by the Delhi styles.

Answer: highly inclined buttresses


Question: Where does this palace derive its name from?

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

The plan of the Hindola Mahal is a T-shape, though examination of the exterior walls leads to the conclusion that the crossbar was added later.  The vertical mast of the plan consists of one main hall measuring 30 by 18 metres (98 by 59 feet) and 12 metres (39 feet) high.  Its lateral walls are 3 metres (9.8 feet) thick and further reinforced by massive inclined buttresses that angle over 77 degrees.  These highly inclined buttresses give the Hindola Mahal (Swinging Palace) its name.  They also neutralize the outward force of five massive ogee arches that once supported the large flat roof of the main hall.  On each exterior of the long sides of the main hall are six recessed arches which hold doors in their lower sections and three slabs of open-work stone windows to let in air and light.  A high wall holds battlements on the roof of the building.
The crossbar of the Hindola Mahal is of about the same proportions as the main hall but is split into two tiers.  The upper floor, which is divided into two rooms, looks onto the main hall through an arched opening.  The ground floor consists of a cruciform gallery with arms that extend to another entrance to the building and an arch to the main hall.
The Hindola Mahal represents the characteristic elements of the architectural style of the Malwa period (1400–1550): simplicity, boldness, and well-proportioned.  The Hindola Mahal emphasizes its architectural simplicity with minimal ornamentation and stands out boldly through massive inclined buttresses.  These elements make the Hindola Mahal a unique exaggerated example of the Malwa style.  In addition, the pointed arches on the building’s interior reflect how Malwa architecture was influenced by the Delhi styles.

Answer: highly inclined buttresses


Question: In which city is this palace located?

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

The Hindola Mahal (English translation: “Swinging Palace”), is a large meeting hall, or durbar, in the ancient Indian city of Mandu, Madhya Pradesh. Today the Hindola Mahal is a tourist destination in the ruined city.

Answer: mandu


Question: In which city is this palace located?

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

The Hindola Mahal (English translation: “Swinging Palace”), is a large meeting hall, or durbar, in the ancient Indian city of Mandu, Madhya Pradesh. Today the Hindola Mahal is a tourist destination in the ruined city.

Answer: mandu


Question: In which city is this palace located?

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

The Hindola Mahal (English translation: “Swinging Palace”), is a large meeting hall, or durbar, in the ancient Indian city of Mandu, Madhya Pradesh. Today the Hindola Mahal is a tourist destination in the ruined city.

Answer: mandu


Question: In which city is this palace located?

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

The Hindola Mahal (English translation: “Swinging Palace”), is a large meeting hall, or durbar, in the ancient Indian city of Mandu, Madhya Pradesh. Today the Hindola Mahal is a tourist destination in the ruined city.

Answer: mandu


Question: In which city is this palace located?

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

The Hindola Mahal (English translation: “Swinging Palace”), is a large meeting hall, or durbar, in the ancient Indian city of Mandu, Madhya Pradesh. Today the Hindola Mahal is a tourist destination in the ruined city.

Answer: mandu


Question: Who lived here that was a member of a royal family?

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

After the death of George IV in 1830, his successor King William IV also stayed in the Pavilion on his frequent visits to Brighton. Queen Victoria, however, disliked Brighton and the lack of privacy at the Pavilion. Brighton became accessible to Londoners by rail in 1841, increasing its popularity with the masses. In addition, the Pavilion was cramped for her growing family. Famously, Queen Victoria disliked the constant attention she attracted in Brighton, saying "the people here are very indiscreet and troublesome".
She purchased an estate and land that was redeveloped for Osborne House in the Isle of Wight, which became the summer home of the royal family. After her last visit to Brighton in 1845, the Government planned to sell the building and grounds. The Brighton Commissioners and the Brighton Vestry successfully petitioned the Government to sell the Pavilion to the town for £53,000 in 1850 under the Brighton Improvement (Purchase of the Royal Pavilion and Grounds) Act 1850. The sale helped fund furnishing of Osborne House.
In 1860, the adjacent royal stables were converted to a concert hall, now known as the Brighton Dome. The town used the building as assembly rooms. Many of the Pavilion's original fixtures and fittings were removed on the order of the royal household at the time of the sale, most ending up either in Buckingham Palace or Windsor Castle. In the late 1860s, Queen Victoria returned to Brighton large quantities of unused fittings. George V and Queen Mary returned more furnishings after the First World War.
Since the end of the Second World War, the municipality of Brighton has worked to restore the Pavilion to its state at the time of King George IV. The city was encouraged in the 1950s by the permanent loan of over 100 items of furniture from Queen Elizabeth II. It has undertaken an extensive programme of restoring the rooms, reinstating stud walls, and creating replicas of some original fittings and occasionally pieces of furniture.

Answer: william iv


Question: Who lived here that was a member of a royal family?

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

After the death of George IV in 1830, his successor King William IV also stayed in the Pavilion on his frequent visits to Brighton. Queen Victoria, however, disliked Brighton and the lack of privacy at the Pavilion. Brighton became accessible to Londoners by rail in 1841, increasing its popularity with the masses. In addition, the Pavilion was cramped for her growing family. Famously, Queen Victoria disliked the constant attention she attracted in Brighton, saying "the people here are very indiscreet and troublesome".
She purchased an estate and land that was redeveloped for Osborne House in the Isle of Wight, which became the summer home of the royal family. After her last visit to Brighton in 1845, the Government planned to sell the building and grounds. The Brighton Commissioners and the Brighton Vestry successfully petitioned the Government to sell the Pavilion to the town for £53,000 in 1850 under the Brighton Improvement (Purchase of the Royal Pavilion and Grounds) Act 1850. The sale helped fund furnishing of Osborne House.
In 1860, the adjacent royal stables were converted to a concert hall, now known as the Brighton Dome. The town used the building as assembly rooms. Many of the Pavilion's original fixtures and fittings were removed on the order of the royal household at the time of the sale, most ending up either in Buckingham Palace or Windsor Castle. In the late 1860s, Queen Victoria returned to Brighton large quantities of unused fittings. George V and Queen Mary returned more furnishings after the First World War.
Since the end of the Second World War, the municipality of Brighton has worked to restore the Pavilion to its state at the time of King George IV. The city was encouraged in the 1950s by the permanent loan of over 100 items of furniture from Queen Elizabeth II. It has undertaken an extensive programme of restoring the rooms, reinstating stud walls, and creating replicas of some original fittings and occasionally pieces of furniture.

Answer: william iv


Question: Who lived here that was a member of a royal family?

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

After the death of George IV in 1830, his successor King William IV also stayed in the Pavilion on his frequent visits to Brighton. Queen Victoria, however, disliked Brighton and the lack of privacy at the Pavilion. Brighton became accessible to Londoners by rail in 1841, increasing its popularity with the masses. In addition, the Pavilion was cramped for her growing family. Famously, Queen Victoria disliked the constant attention she attracted in Brighton, saying "the people here are very indiscreet and troublesome".
She purchased an estate and land that was redeveloped for Osborne House in the Isle of Wight, which became the summer home of the royal family. After her last visit to Brighton in 1845, the Government planned to sell the building and grounds. The Brighton Commissioners and the Brighton Vestry successfully petitioned the Government to sell the Pavilion to the town for £53,000 in 1850 under the Brighton Improvement (Purchase of the Royal Pavilion and Grounds) Act 1850. The sale helped fund furnishing of Osborne House.
In 1860, the adjacent royal stables were converted to a concert hall, now known as the Brighton Dome. The town used the building as assembly rooms. Many of the Pavilion's original fixtures and fittings were removed on the order of the royal household at the time of the sale, most ending up either in Buckingham Palace or Windsor Castle. In the late 1860s, Queen Victoria returned to Brighton large quantities of unused fittings. George V and Queen Mary returned more furnishings after the First World War.
Since the end of the Second World War, the municipality of Brighton has worked to restore the Pavilion to its state at the time of King George IV. The city was encouraged in the 1950s by the permanent loan of over 100 items of furniture from Queen Elizabeth II. It has undertaken an extensive programme of restoring the rooms, reinstating stud walls, and creating replicas of some original fittings and occasionally pieces of furniture.

Answer: william iv


Question: Who lived here that was a member of a royal family?

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

After the death of George IV in 1830, his successor King William IV also stayed in the Pavilion on his frequent visits to Brighton. Queen Victoria, however, disliked Brighton and the lack of privacy at the Pavilion. Brighton became accessible to Londoners by rail in 1841, increasing its popularity with the masses. In addition, the Pavilion was cramped for her growing family. Famously, Queen Victoria disliked the constant attention she attracted in Brighton, saying "the people here are very indiscreet and troublesome".
She purchased an estate and land that was redeveloped for Osborne House in the Isle of Wight, which became the summer home of the royal family. After her last visit to Brighton in 1845, the Government planned to sell the building and grounds. The Brighton Commissioners and the Brighton Vestry successfully petitioned the Government to sell the Pavilion to the town for £53,000 in 1850 under the Brighton Improvement (Purchase of the Royal Pavilion and Grounds) Act 1850. The sale helped fund furnishing of Osborne House.
In 1860, the adjacent royal stables were converted to a concert hall, now known as the Brighton Dome. The town used the building as assembly rooms. Many of the Pavilion's original fixtures and fittings were removed on the order of the royal household at the time of the sale, most ending up either in Buckingham Palace or Windsor Castle. In the late 1860s, Queen Victoria returned to Brighton large quantities of unused fittings. George V and Queen Mary returned more furnishings after the First World War.
Since the end of the Second World War, the municipality of Brighton has worked to restore the Pavilion to its state at the time of King George IV. The city was encouraged in the 1950s by the permanent loan of over 100 items of furniture from Queen Elizabeth II. It has undertaken an extensive programme of restoring the rooms, reinstating stud walls, and creating replicas of some original fittings and occasionally pieces of furniture.

Answer: william iv


Question: Who lived here that was a member of a royal family?

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

After the death of George IV in 1830, his successor King William IV also stayed in the Pavilion on his frequent visits to Brighton. Queen Victoria, however, disliked Brighton and the lack of privacy at the Pavilion. Brighton became accessible to Londoners by rail in 1841, increasing its popularity with the masses. In addition, the Pavilion was cramped for her growing family. Famously, Queen Victoria disliked the constant attention she attracted in Brighton, saying "the people here are very indiscreet and troublesome".
She purchased an estate and land that was redeveloped for Osborne House in the Isle of Wight, which became the summer home of the royal family. After her last visit to Brighton in 1845, the Government planned to sell the building and grounds. The Brighton Commissioners and the Brighton Vestry successfully petitioned the Government to sell the Pavilion to the town for £53,000 in 1850 under the Brighton Improvement (Purchase of the Royal Pavilion and Grounds) Act 1850. The sale helped fund furnishing of Osborne House.
In 1860, the adjacent royal stables were converted to a concert hall, now known as the Brighton Dome. The town used the building as assembly rooms. Many of the Pavilion's original fixtures and fittings were removed on the order of the royal household at the time of the sale, most ending up either in Buckingham Palace or Windsor Castle. In the late 1860s, Queen Victoria returned to Brighton large quantities of unused fittings. George V and Queen Mary returned more furnishings after the First World War.
Since the end of the Second World War, the municipality of Brighton has worked to restore the Pavilion to its state at the time of King George IV. The city was encouraged in the 1950s by the permanent loan of over 100 items of furniture from Queen Elizabeth II. It has undertaken an extensive programme of restoring the rooms, reinstating stud walls, and creating replicas of some original fittings and occasionally pieces of furniture.

Answer: william iv


Question: When was this palace built?

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

The Palace of Fomento (Spanish: Palacio de Fomento), also known as the Ministry of Agriculture Building, is a nineteenth-century office building in Madrid, Spain.  Designed by Ricardo Velázquez Bosco, and built between 1893 and 1897, it is on a prominent site opposite Atocha railway station.

Answer: between 1893 and 1897


Question: When was this palace built?

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

The Palace of Fomento (Spanish: Palacio de Fomento), also known as the Ministry of Agriculture Building, is a nineteenth-century office building in Madrid, Spain.  Designed by Ricardo Velázquez Bosco, and built between 1893 and 1897, it is on a prominent site opposite Atocha railway station.

Answer: between 1893 and 1897


Question: When was this palace built?

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

The Palace of Fomento (Spanish: Palacio de Fomento), also known as the Ministry of Agriculture Building, is a nineteenth-century office building in Madrid, Spain.  Designed by Ricardo Velázquez Bosco, and built between 1893 and 1897, it is on a prominent site opposite Atocha railway station.

Answer: between 1893 and 1897


Question: When was this palace built?

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

The Palace of Fomento (Spanish: Palacio de Fomento), also known as the Ministry of Agriculture Building, is a nineteenth-century office building in Madrid, Spain.  Designed by Ricardo Velázquez Bosco, and built between 1893 and 1897, it is on a prominent site opposite Atocha railway station.

Answer: between 1893 and 1897


Question: When was this palace built?

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

The Palace of Fomento (Spanish: Palacio de Fomento), also known as the Ministry of Agriculture Building, is a nineteenth-century office building in Madrid, Spain.  Designed by Ricardo Velázquez Bosco, and built between 1893 and 1897, it is on a prominent site opposite Atocha railway station.

Answer: between 1893 and 1897


Question: Who lived here that was a member of a royal family?

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

The palace was built in 1677–83 for the Voivode of Płock, Jan Dobrogost Krasiński, according to design by Tylman van Gameren. It was decorated with pediment reliefs showing the triumph of the legendary "ancestor" of the Ślepowron and Korwin Polish clans, the Roman commander Manius Valerius Maximus Corvinus Messalla (263 BC) and sculptural work, all by Andreas Schlüter.
Jan Dobrogost Krasiński, who also served as the royal clerk (Referendarz), was a descendant of old Mazovian nobility and an heir to a large fortune. After his father's death he wished to erect a magnificent residence in the capital which was to fulfill his excessive political ambitions and show his enormous pride, which made him cultivate and develop a 16th-century legend about the antique origin and alleged royal connections of his family.
Krasiński was well acquainted with French culture and architecture; he was interested in hiring qualified and renowned French artists and architects that would perform the work. He kept a detailed accountancy book in which he systematically recorded progress in construction. The whole idea was realized according to the design of Tylman van Gameren. He was of Dutch origin, educated in Italy, and he was brought to Poland by the Lubomirski family. He made a large number of various designs for Lubomirskis, the Royal Family, the representatives of different noblemen and gentry families as well as for the Catholic Church. Some Warsaw architects were also employed to build the palace as building contractors, as suppliers of materials or to control the master craftsmen, bricklayers or artisans. These people were Joseph Bellotti, Jacob Solari, Izydor Affaita and Maderni. The main role in decorating the palace was played by German sculptor, Andreas Schlüter, who had previously cooperated with Tylman.
The first floor porte-fenêtre (vertical French door and window) was crowned with a cartouche supported by two angels bearing the founder's monogram JK for Jan Krasiński. The frescoes were made by John III Sobieski's court painter Michelangelo Palloni. Among his notable works in the palace, most worth mentioning are the plafond and frescoes in the supraportes (the space between the portal and ceiling) of the palace's vestibule. Moulding which remain in vestibule and partly in the stairwell, also the heads of pilasters or festoons on external elevations made of stucco as well as the armorial cartouche of the façade from the garden side were made by unknown artists under the supervision of Joseph Belloti. The lost paintings in the vestibule destroyed during World War II were painted by Michael Palloni. The interiors were partially finished by 1699. Other paintings by Albrecht Dürer, Antonio da Correggio, Rembrandt and Peter Paul Rubens are no longer present.
The palace-garden complex was created on a vast property between Długa and Świętojerska Streets, in the place of the old manor house with small garden that belonged to Krasiński. Krasiński purchased some surrounding plots to extend the gardens. According to Gameren's conception, the palace was intended as a French style palace entre cour et jardin (between the entrance court and the garden) with cour d'honneur, two symmetrical outbuildings, parterre garden (à la française) with three radial alleys and a palace in the center of the axis, but it was never fully accomplished.
In 1765 the palace was purchased by the Rzeczpospolita (Commonwealth; the Polish State) and became the seat of the Treasury Commission. After a fire in 1783 it was remodelled according to Domenico Merlini's design. During the interwar period, the palace housed the Supreme Court of Poland.
The palace was burned down and partially demolished by the Germans during World War II, with the outer shell remaining mostly intact. Today it is a part of the Polish National Library's Special Collections Section (socializing in manuscripts and old prints) from the Załuski Library (only 5% of the former collection remains in the palace, the rest was deliberately destroyed by the Germans after the collapse of the Warsaw Uprising in October 1944).

Answer: lubomirskis


Question: Who lived here that was a member of a royal family?

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

The palace was built in 1677–83 for the Voivode of Płock, Jan Dobrogost Krasiński, according to design by Tylman van Gameren. It was decorated with pediment reliefs showing the triumph of the legendary "ancestor" of the Ślepowron and Korwin Polish clans, the Roman commander Manius Valerius Maximus Corvinus Messalla (263 BC) and sculptural work, all by Andreas Schlüter.
Jan Dobrogost Krasiński, who also served as the royal clerk (Referendarz), was a descendant of old Mazovian nobility and an heir to a large fortune. After his father's death he wished to erect a magnificent residence in the capital which was to fulfill his excessive political ambitions and show his enormous pride, which made him cultivate and develop a 16th-century legend about the antique origin and alleged royal connections of his family.
Krasiński was well acquainted with French culture and architecture; he was interested in hiring qualified and renowned French artists and architects that would perform the work. He kept a detailed accountancy book in which he systematically recorded progress in construction. The whole idea was realized according to the design of Tylman van Gameren. He was of Dutch origin, educated in Italy, and he was brought to Poland by the Lubomirski family. He made a large number of various designs for Lubomirskis, the Royal Family, the representatives of different noblemen and gentry families as well as for the Catholic Church. Some Warsaw architects were also employed to build the palace as building contractors, as suppliers of materials or to control the master craftsmen, bricklayers or artisans. These people were Joseph Bellotti, Jacob Solari, Izydor Affaita and Maderni. The main role in decorating the palace was played by German sculptor, Andreas Schlüter, who had previously cooperated with Tylman.
The first floor porte-fenêtre (vertical French door and window) was crowned with a cartouche supported by two angels bearing the founder's monogram JK for Jan Krasiński. The frescoes were made by John III Sobieski's court painter Michelangelo Palloni. Among his notable works in the palace, most worth mentioning are the plafond and frescoes in the supraportes (the space between the portal and ceiling) of the palace's vestibule. Moulding which remain in vestibule and partly in the stairwell, also the heads of pilasters or festoons on external elevations made of stucco as well as the armorial cartouche of the façade from the garden side were made by unknown artists under the supervision of Joseph Belloti. The lost paintings in the vestibule destroyed during World War II were painted by Michael Palloni. The interiors were partially finished by 1699. Other paintings by Albrecht Dürer, Antonio da Correggio, Rembrandt and Peter Paul Rubens are no longer present.
The palace-garden complex was created on a vast property between Długa and Świętojerska Streets, in the place of the old manor house with small garden that belonged to Krasiński. Krasiński purchased some surrounding plots to extend the gardens. According to Gameren's conception, the palace was intended as a French style palace entre cour et jardin (between the entrance court and the garden) with cour d'honneur, two symmetrical outbuildings, parterre garden (à la française) with three radial alleys and a palace in the center of the axis, but it was never fully accomplished.
In 1765 the palace was purchased by the Rzeczpospolita (Commonwealth; the Polish State) and became the seat of the Treasury Commission. After a fire in 1783 it was remodelled according to Domenico Merlini's design. During the interwar period, the palace housed the Supreme Court of Poland.
The palace was burned down and partially demolished by the Germans during World War II, with the outer shell remaining mostly intact. Today it is a part of the Polish National Library's Special Collections Section (socializing in manuscripts and old prints) from the Załuski Library (only 5% of the former collection remains in the palace, the rest was deliberately destroyed by the Germans after the collapse of the Warsaw Uprising in October 1944).

Answer: lubomirskis


Question: Who lived here that was a member of a royal family?

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

The palace was built in 1677–83 for the Voivode of Płock, Jan Dobrogost Krasiński, according to design by Tylman van Gameren. It was decorated with pediment reliefs showing the triumph of the legendary "ancestor" of the Ślepowron and Korwin Polish clans, the Roman commander Manius Valerius Maximus Corvinus Messalla (263 BC) and sculptural work, all by Andreas Schlüter.
Jan Dobrogost Krasiński, who also served as the royal clerk (Referendarz), was a descendant of old Mazovian nobility and an heir to a large fortune. After his father's death he wished to erect a magnificent residence in the capital which was to fulfill his excessive political ambitions and show his enormous pride, which made him cultivate and develop a 16th-century legend about the antique origin and alleged royal connections of his family.
Krasiński was well acquainted with French culture and architecture; he was interested in hiring qualified and renowned French artists and architects that would perform the work. He kept a detailed accountancy book in which he systematically recorded progress in construction. The whole idea was realized according to the design of Tylman van Gameren. He was of Dutch origin, educated in Italy, and he was brought to Poland by the Lubomirski family. He made a large number of various designs for Lubomirskis, the Royal Family, the representatives of different noblemen and gentry families as well as for the Catholic Church. Some Warsaw architects were also employed to build the palace as building contractors, as suppliers of materials or to control the master craftsmen, bricklayers or artisans. These people were Joseph Bellotti, Jacob Solari, Izydor Affaita and Maderni. The main role in decorating the palace was played by German sculptor, Andreas Schlüter, who had previously cooperated with Tylman.
The first floor porte-fenêtre (vertical French door and window) was crowned with a cartouche supported by two angels bearing the founder's monogram JK for Jan Krasiński. The frescoes were made by John III Sobieski's court painter Michelangelo Palloni. Among his notable works in the palace, most worth mentioning are the plafond and frescoes in the supraportes (the space between the portal and ceiling) of the palace's vestibule. Moulding which remain in vestibule and partly in the stairwell, also the heads of pilasters or festoons on external elevations made of stucco as well as the armorial cartouche of the façade from the garden side were made by unknown artists under the supervision of Joseph Belloti. The lost paintings in the vestibule destroyed during World War II were painted by Michael Palloni. The interiors were partially finished by 1699. Other paintings by Albrecht Dürer, Antonio da Correggio, Rembrandt and Peter Paul Rubens are no longer present.
The palace-garden complex was created on a vast property between Długa and Świętojerska Streets, in the place of the old manor house with small garden that belonged to Krasiński. Krasiński purchased some surrounding plots to extend the gardens. According to Gameren's conception, the palace was intended as a French style palace entre cour et jardin (between the entrance court and the garden) with cour d'honneur, two symmetrical outbuildings, parterre garden (à la française) with three radial alleys and a palace in the center of the axis, but it was never fully accomplished.
In 1765 the palace was purchased by the Rzeczpospolita (Commonwealth; the Polish State) and became the seat of the Treasury Commission. After a fire in 1783 it was remodelled according to Domenico Merlini's design. During the interwar period, the palace housed the Supreme Court of Poland.
The palace was burned down and partially demolished by the Germans during World War II, with the outer shell remaining mostly intact. Today it is a part of the Polish National Library's Special Collections Section (socializing in manuscripts and old prints) from the Załuski Library (only 5% of the former collection remains in the palace, the rest was deliberately destroyed by the Germans after the collapse of the Warsaw Uprising in October 1944).

Answer: lubomirskis


Question: Who lived here that was a member of a royal family?

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

The palace was built in 1677–83 for the Voivode of Płock, Jan Dobrogost Krasiński, according to design by Tylman van Gameren. It was decorated with pediment reliefs showing the triumph of the legendary "ancestor" of the Ślepowron and Korwin Polish clans, the Roman commander Manius Valerius Maximus Corvinus Messalla (263 BC) and sculptural work, all by Andreas Schlüter.
Jan Dobrogost Krasiński, who also served as the royal clerk (Referendarz), was a descendant of old Mazovian nobility and an heir to a large fortune. After his father's death he wished to erect a magnificent residence in the capital which was to fulfill his excessive political ambitions and show his enormous pride, which made him cultivate and develop a 16th-century legend about the antique origin and alleged royal connections of his family.
Krasiński was well acquainted with French culture and architecture; he was interested in hiring qualified and renowned French artists and architects that would perform the work. He kept a detailed accountancy book in which he systematically recorded progress in construction. The whole idea was realized according to the design of Tylman van Gameren. He was of Dutch origin, educated in Italy, and he was brought to Poland by the Lubomirski family. He made a large number of various designs for Lubomirskis, the Royal Family, the representatives of different noblemen and gentry families as well as for the Catholic Church. Some Warsaw architects were also employed to build the palace as building contractors, as suppliers of materials or to control the master craftsmen, bricklayers or artisans. These people were Joseph Bellotti, Jacob Solari, Izydor Affaita and Maderni. The main role in decorating the palace was played by German sculptor, Andreas Schlüter, who had previously cooperated with Tylman.
The first floor porte-fenêtre (vertical French door and window) was crowned with a cartouche supported by two angels bearing the founder's monogram JK for Jan Krasiński. The frescoes were made by John III Sobieski's court painter Michelangelo Palloni. Among his notable works in the palace, most worth mentioning are the plafond and frescoes in the supraportes (the space between the portal and ceiling) of the palace's vestibule. Moulding which remain in vestibule and partly in the stairwell, also the heads of pilasters or festoons on external elevations made of stucco as well as the armorial cartouche of the façade from the garden side were made by unknown artists under the supervision of Joseph Belloti. The lost paintings in the vestibule destroyed during World War II were painted by Michael Palloni. The interiors were partially finished by 1699. Other paintings by Albrecht Dürer, Antonio da Correggio, Rembrandt and Peter Paul Rubens are no longer present.
The palace-garden complex was created on a vast property between Długa and Świętojerska Streets, in the place of the old manor house with small garden that belonged to Krasiński. Krasiński purchased some surrounding plots to extend the gardens. According to Gameren's conception, the palace was intended as a French style palace entre cour et jardin (between the entrance court and the garden) with cour d'honneur, two symmetrical outbuildings, parterre garden (à la française) with three radial alleys and a palace in the center of the axis, but it was never fully accomplished.
In 1765 the palace was purchased by the Rzeczpospolita (Commonwealth; the Polish State) and became the seat of the Treasury Commission. After a fire in 1783 it was remodelled according to Domenico Merlini's design. During the interwar period, the palace housed the Supreme Court of Poland.
The palace was burned down and partially demolished by the Germans during World War II, with the outer shell remaining mostly intact. Today it is a part of the Polish National Library's Special Collections Section (socializing in manuscripts and old prints) from the Załuski Library (only 5% of the former collection remains in the palace, the rest was deliberately destroyed by the Germans after the collapse of the Warsaw Uprising in October 1944).

Answer: lubomirskis


Question: Who lived here that was a member of a royal family?

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

The palace was built in 1677–83 for the Voivode of Płock, Jan Dobrogost Krasiński, according to design by Tylman van Gameren. It was decorated with pediment reliefs showing the triumph of the legendary "ancestor" of the Ślepowron and Korwin Polish clans, the Roman commander Manius Valerius Maximus Corvinus Messalla (263 BC) and sculptural work, all by Andreas Schlüter.
Jan Dobrogost Krasiński, who also served as the royal clerk (Referendarz), was a descendant of old Mazovian nobility and an heir to a large fortune. After his father's death he wished to erect a magnificent residence in the capital which was to fulfill his excessive political ambitions and show his enormous pride, which made him cultivate and develop a 16th-century legend about the antique origin and alleged royal connections of his family.
Krasiński was well acquainted with French culture and architecture; he was interested in hiring qualified and renowned French artists and architects that would perform the work. He kept a detailed accountancy book in which he systematically recorded progress in construction. The whole idea was realized according to the design of Tylman van Gameren. He was of Dutch origin, educated in Italy, and he was brought to Poland by the Lubomirski family. He made a large number of various designs for Lubomirskis, the Royal Family, the representatives of different noblemen and gentry families as well as for the Catholic Church. Some Warsaw architects were also employed to build the palace as building contractors, as suppliers of materials or to control the master craftsmen, bricklayers or artisans. These people were Joseph Bellotti, Jacob Solari, Izydor Affaita and Maderni. The main role in decorating the palace was played by German sculptor, Andreas Schlüter, who had previously cooperated with Tylman.
The first floor porte-fenêtre (vertical French door and window) was crowned with a cartouche supported by two angels bearing the founder's monogram JK for Jan Krasiński. The frescoes were made by John III Sobieski's court painter Michelangelo Palloni. Among his notable works in the palace, most worth mentioning are the plafond and frescoes in the supraportes (the space between the portal and ceiling) of the palace's vestibule. Moulding which remain in vestibule and partly in the stairwell, also the heads of pilasters or festoons on external elevations made of stucco as well as the armorial cartouche of the façade from the garden side were made by unknown artists under the supervision of Joseph Belloti. The lost paintings in the vestibule destroyed during World War II were painted by Michael Palloni. The interiors were partially finished by 1699. Other paintings by Albrecht Dürer, Antonio da Correggio, Rembrandt and Peter Paul Rubens are no longer present.
The palace-garden complex was created on a vast property between Długa and Świętojerska Streets, in the place of the old manor house with small garden that belonged to Krasiński. Krasiński purchased some surrounding plots to extend the gardens. According to Gameren's conception, the palace was intended as a French style palace entre cour et jardin (between the entrance court and the garden) with cour d'honneur, two symmetrical outbuildings, parterre garden (à la française) with three radial alleys and a palace in the center of the axis, but it was never fully accomplished.
In 1765 the palace was purchased by the Rzeczpospolita (Commonwealth; the Polish State) and became the seat of the Treasury Commission. After a fire in 1783 it was remodelled according to Domenico Merlini's design. During the interwar period, the palace housed the Supreme Court of Poland.
The palace was burned down and partially demolished by the Germans during World War II, with the outer shell remaining mostly intact. Today it is a part of the Polish National Library's Special Collections Section (socializing in manuscripts and old prints) from the Załuski Library (only 5% of the former collection remains in the palace, the rest was deliberately destroyed by the Germans after the collapse of the Warsaw Uprising in October 1944).

Answer: lubomirskis


Question: Who designed this palace?

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

The land and the buildings on it were claimed by Hernán Cortés, who had architects Rodrigo de Pontocillos and Juan Rodríguez rebuild the palace while Cortés lived in the "Old Houses" (now the Nacional Monte de Piedad building) across the plaza from 1521 to 1530.
Cortés's palace was a massive fortress with embrasures for cannon at the corners and the mezzanine had crenels for musketeers. The façade had only two doors with arches (medio punto). Inside there were two patios, with a third being built after 1554 and a fourth sometime after that. Its garden was extensive, occupying much of the south and southwest portions of the property up to what is now Correo Mayor Street. The palace has living quarters, offices, two audience rooms, and a tower for gunpowder. A secondary building behind the main one has nineteen windows spanning its façade. It also had a parapet, above which was a clock and a bell. The main courtyard was built large enough so he could entertain visitors with New Spain's first recorded bullfights.
The Spanish crown bought the palace from the Cortés family in 1562 to house the Viceregal Palace. It remained so until Mexican Independence in the 1820s.

Answer: rodrigo de pontocillos


Question: Who designed this palace?

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

The land and the buildings on it were claimed by Hernán Cortés, who had architects Rodrigo de Pontocillos and Juan Rodríguez rebuild the palace while Cortés lived in the "Old Houses" (now the Nacional Monte de Piedad building) across the plaza from 1521 to 1530.
Cortés's palace was a massive fortress with embrasures for cannon at the corners and the mezzanine had crenels for musketeers. The façade had only two doors with arches (medio punto). Inside there were two patios, with a third being built after 1554 and a fourth sometime after that. Its garden was extensive, occupying much of the south and southwest portions of the property up to what is now Correo Mayor Street. The palace has living quarters, offices, two audience rooms, and a tower for gunpowder. A secondary building behind the main one has nineteen windows spanning its façade. It also had a parapet, above which was a clock and a bell. The main courtyard was built large enough so he could entertain visitors with New Spain's first recorded bullfights.
The Spanish crown bought the palace from the Cortés family in 1562 to house the Viceregal Palace. It remained so until Mexican Independence in the 1820s.

Answer: rodrigo de pontocillos


Question: Who designed this palace?

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

The land and the buildings on it were claimed by Hernán Cortés, who had architects Rodrigo de Pontocillos and Juan Rodríguez rebuild the palace while Cortés lived in the "Old Houses" (now the Nacional Monte de Piedad building) across the plaza from 1521 to 1530.
Cortés's palace was a massive fortress with embrasures for cannon at the corners and the mezzanine had crenels for musketeers. The façade had only two doors with arches (medio punto). Inside there were two patios, with a third being built after 1554 and a fourth sometime after that. Its garden was extensive, occupying much of the south and southwest portions of the property up to what is now Correo Mayor Street. The palace has living quarters, offices, two audience rooms, and a tower for gunpowder. A secondary building behind the main one has nineteen windows spanning its façade. It also had a parapet, above which was a clock and a bell. The main courtyard was built large enough so he could entertain visitors with New Spain's first recorded bullfights.
The Spanish crown bought the palace from the Cortés family in 1562 to house the Viceregal Palace. It remained so until Mexican Independence in the 1820s.

Answer: rodrigo de pontocillos


Question: Who designed this palace?

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

The land and the buildings on it were claimed by Hernán Cortés, who had architects Rodrigo de Pontocillos and Juan Rodríguez rebuild the palace while Cortés lived in the "Old Houses" (now the Nacional Monte de Piedad building) across the plaza from 1521 to 1530.
Cortés's palace was a massive fortress with embrasures for cannon at the corners and the mezzanine had crenels for musketeers. The façade had only two doors with arches (medio punto). Inside there were two patios, with a third being built after 1554 and a fourth sometime after that. Its garden was extensive, occupying much of the south and southwest portions of the property up to what is now Correo Mayor Street. The palace has living quarters, offices, two audience rooms, and a tower for gunpowder. A secondary building behind the main one has nineteen windows spanning its façade. It also had a parapet, above which was a clock and a bell. The main courtyard was built large enough so he could entertain visitors with New Spain's first recorded bullfights.
The Spanish crown bought the palace from the Cortés family in 1562 to house the Viceregal Palace. It remained so until Mexican Independence in the 1820s.

Answer: rodrigo de pontocillos


Question: Who designed this palace?

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

The land and the buildings on it were claimed by Hernán Cortés, who had architects Rodrigo de Pontocillos and Juan Rodríguez rebuild the palace while Cortés lived in the "Old Houses" (now the Nacional Monte de Piedad building) across the plaza from 1521 to 1530.
Cortés's palace was a massive fortress with embrasures for cannon at the corners and the mezzanine had crenels for musketeers. The façade had only two doors with arches (medio punto). Inside there were two patios, with a third being built after 1554 and a fourth sometime after that. Its garden was extensive, occupying much of the south and southwest portions of the property up to what is now Correo Mayor Street. The palace has living quarters, offices, two audience rooms, and a tower for gunpowder. A secondary building behind the main one has nineteen windows spanning its façade. It also had a parapet, above which was a clock and a bell. The main courtyard was built large enough so he could entertain visitors with New Spain's first recorded bullfights.
The Spanish crown bought the palace from the Cortés family in 1562 to house the Viceregal Palace. It remained so until Mexican Independence in the 1820s.

Answer: rodrigo de pontocillos


Question: When was this palace built?

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

Built in 1636, as a focal point of his capital at Madurai, Thirumalai Nayak intended the palace to be one of the grandest in South India.  The design and architecture is a blend of Dravidian and Rajasthani styles. The Interior of the palace surpasses many of its Indian contemporaries in scale. The interior is richly decorated whilst the exterior is treated in a more austere style.
The king hired an Italian architect to design the complex, and hence the Dravidian – Italian architecture. During this period Madurai was a thriving kingdom with Portuguese, Dutch and other Europeans as traders, missionaries and visiting travelers. This might have influenced the design inspirations of the palace.
During the 18th century many structures that were part of this palace were pulled down or incorporated into buildings in the adjacent streets. What remains is the enclosed court known as the Svarga Vilasam and a few adjoining buildings. The audience chamber of the Svarga Vilasam is a vast hall with arcades about 12 m high. The court yard of Svarga Vilasam measures 75 m (246 ft) by 50 m (160 ft). The architecture is a blend of indigenous and Islamic forms. Thirumalai nayakar mahal is famous for its giant pillars. Pillar's height is 82 feet (25 m) and width is 19 feet (5.8 m). Historically, the palace measured 554,000 sq ft (51,500 m²) and was 900 ft (270 m) long by 660 ft (200 m) wide.

Answer: 1636


Question: When was this palace built?

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

Built in 1636, as a focal point of his capital at Madurai, Thirumalai Nayak intended the palace to be one of the grandest in South India.  The design and architecture is a blend of Dravidian and Rajasthani styles. The Interior of the palace surpasses many of its Indian contemporaries in scale. The interior is richly decorated whilst the exterior is treated in a more austere style.
The king hired an Italian architect to design the complex, and hence the Dravidian – Italian architecture. During this period Madurai was a thriving kingdom with Portuguese, Dutch and other Europeans as traders, missionaries and visiting travelers. This might have influenced the design inspirations of the palace.
During the 18th century many structures that were part of this palace were pulled down or incorporated into buildings in the adjacent streets. What remains is the enclosed court known as the Svarga Vilasam and a few adjoining buildings. The audience chamber of the Svarga Vilasam is a vast hall with arcades about 12 m high. The court yard of Svarga Vilasam measures 75 m (246 ft) by 50 m (160 ft). The architecture is a blend of indigenous and Islamic forms. Thirumalai nayakar mahal is famous for its giant pillars. Pillar's height is 82 feet (25 m) and width is 19 feet (5.8 m). Historically, the palace measured 554,000 sq ft (51,500 m²) and was 900 ft (270 m) long by 660 ft (200 m) wide.

Answer: 1636


Question: When was this palace built?

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

Built in 1636, as a focal point of his capital at Madurai, Thirumalai Nayak intended the palace to be one of the grandest in South India.  The design and architecture is a blend of Dravidian and Rajasthani styles. The Interior of the palace surpasses many of its Indian contemporaries in scale. The interior is richly decorated whilst the exterior is treated in a more austere style.
The king hired an Italian architect to design the complex, and hence the Dravidian – Italian architecture. During this period Madurai was a thriving kingdom with Portuguese, Dutch and other Europeans as traders, missionaries and visiting travelers. This might have influenced the design inspirations of the palace.
During the 18th century many structures that were part of this palace were pulled down or incorporated into buildings in the adjacent streets. What remains is the enclosed court known as the Svarga Vilasam and a few adjoining buildings. The audience chamber of the Svarga Vilasam is a vast hall with arcades about 12 m high. The court yard of Svarga Vilasam measures 75 m (246 ft) by 50 m (160 ft). The architecture is a blend of indigenous and Islamic forms. Thirumalai nayakar mahal is famous for its giant pillars. Pillar's height is 82 feet (25 m) and width is 19 feet (5.8 m). Historically, the palace measured 554,000 sq ft (51,500 m²) and was 900 ft (270 m) long by 660 ft (200 m) wide.

Answer: 1636


Question: When was this palace built?

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

Built in 1636, as a focal point of his capital at Madurai, Thirumalai Nayak intended the palace to be one of the grandest in South India.  The design and architecture is a blend of Dravidian and Rajasthani styles. The Interior of the palace surpasses many of its Indian contemporaries in scale. The interior is richly decorated whilst the exterior is treated in a more austere style.
The king hired an Italian architect to design the complex, and hence the Dravidian – Italian architecture. During this period Madurai was a thriving kingdom with Portuguese, Dutch and other Europeans as traders, missionaries and visiting travelers. This might have influenced the design inspirations of the palace.
During the 18th century many structures that were part of this palace were pulled down or incorporated into buildings in the adjacent streets. What remains is the enclosed court known as the Svarga Vilasam and a few adjoining buildings. The audience chamber of the Svarga Vilasam is a vast hall with arcades about 12 m high. The court yard of Svarga Vilasam measures 75 m (246 ft) by 50 m (160 ft). The architecture is a blend of indigenous and Islamic forms. Thirumalai nayakar mahal is famous for its giant pillars. Pillar's height is 82 feet (25 m) and width is 19 feet (5.8 m). Historically, the palace measured 554,000 sq ft (51,500 m²) and was 900 ft (270 m) long by 660 ft (200 m) wide.

Answer: 1636


Question: When was this palace built?

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

Built in 1636, as a focal point of his capital at Madurai, Thirumalai Nayak intended the palace to be one of the grandest in South India.  The design and architecture is a blend of Dravidian and Rajasthani styles. The Interior of the palace surpasses many of its Indian contemporaries in scale. The interior is richly decorated whilst the exterior is treated in a more austere style.
The king hired an Italian architect to design the complex, and hence the Dravidian – Italian architecture. During this period Madurai was a thriving kingdom with Portuguese, Dutch and other Europeans as traders, missionaries and visiting travelers. This might have influenced the design inspirations of the palace.
During the 18th century many structures that were part of this palace were pulled down or incorporated into buildings in the adjacent streets. What remains is the enclosed court known as the Svarga Vilasam and a few adjoining buildings. The audience chamber of the Svarga Vilasam is a vast hall with arcades about 12 m high. The court yard of Svarga Vilasam measures 75 m (246 ft) by 50 m (160 ft). The architecture is a blend of indigenous and Islamic forms. Thirumalai nayakar mahal is famous for its giant pillars. Pillar's height is 82 feet (25 m) and width is 19 feet (5.8 m). Historically, the palace measured 554,000 sq ft (51,500 m²) and was 900 ft (270 m) long by 660 ft (200 m) wide.

Answer: 1636


Question: On which days is this palace open for visitors?

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

Gandhi Memorial society celebrates the following public functions at the palace:
Martyr's Day – 30 January.
Mahashivratri – Kasturbha Gandhi's Death Day Celebrated As Mother's Day.
Independence Day – 15 August.
Republic Day – 26 January.
Mahatma Gandhi's Birth Anniversary – 2 October.
Other than yearly events, morning prayer sessions are held daily at the samadhi since decades. The prayer draws huge crowds everyday, and the number goes up threefold on 2 October as people visit the place to pay tribute to Mahatma Gandhi.

Answer: everyday


Question: On which days is this palace open for visitors?

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

Gandhi Memorial society celebrates the following public functions at the palace:
Martyr's Day – 30 January.
Mahashivratri – Kasturbha Gandhi's Death Day Celebrated As Mother's Day.
Independence Day – 15 August.
Republic Day – 26 January.
Mahatma Gandhi's Birth Anniversary – 2 October.
Other than yearly events, morning prayer sessions are held daily at the samadhi since decades. The prayer draws huge crowds everyday, and the number goes up threefold on 2 October as people visit the place to pay tribute to Mahatma Gandhi.

Answer: everyday


Question: On which days is this palace open for visitors?

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

Gandhi Memorial society celebrates the following public functions at the palace:
Martyr's Day – 30 January.
Mahashivratri – Kasturbha Gandhi's Death Day Celebrated As Mother's Day.
Independence Day – 15 August.
Republic Day – 26 January.
Mahatma Gandhi's Birth Anniversary – 2 October.
Other than yearly events, morning prayer sessions are held daily at the samadhi since decades. The prayer draws huge crowds everyday, and the number goes up threefold on 2 October as people visit the place to pay tribute to Mahatma Gandhi.

Answer: everyday


Question: On which days is this palace open for visitors?

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

Gandhi Memorial society celebrates the following public functions at the palace:
Martyr's Day – 30 January.
Mahashivratri – Kasturbha Gandhi's Death Day Celebrated As Mother's Day.
Independence Day – 15 August.
Republic Day – 26 January.
Mahatma Gandhi's Birth Anniversary – 2 October.
Other than yearly events, morning prayer sessions are held daily at the samadhi since decades. The prayer draws huge crowds everyday, and the number goes up threefold on 2 October as people visit the place to pay tribute to Mahatma Gandhi.

Answer: everyday


Question: On which days is this palace open for visitors?

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

Gandhi Memorial society celebrates the following public functions at the palace:
Martyr's Day – 30 January.
Mahashivratri – Kasturbha Gandhi's Death Day Celebrated As Mother's Day.
Independence Day – 15 August.
Republic Day – 26 January.
Mahatma Gandhi's Birth Anniversary – 2 October.
Other than yearly events, morning prayer sessions are held daily at the samadhi since decades. The prayer draws huge crowds everyday, and the number goes up threefold on 2 October as people visit the place to pay tribute to Mahatma Gandhi.

Answer: everyday


Question: Who designed this palace?

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

Begun in 1561 by Ottavio Farnese, who needed to establish a fixed base for the court of his Duchy of Parma and Piacenza. He chose a site near a turret designed by the Sforza and commissioned Jacopo Barozzi to design it and Giovanni Francesco Testa to manage the building work. It was based on the Farnese family's contemporary buildings in Florence and Rome, including the Palazzo Farnese and Villa Farnese.
The palace's decorative scheme was commissioned from artists such as Girolamo Mirola, Jacopo Zanguidi (known as il Bertoja), Agostino Carracci, Carlo Cignani, Jan Soens, Cesare Baglioni, Giovanni Battista Trotti (known as "il Malosso") and Luca Reti. The building was already being modified and extended early in the 17th century, firstly by Simone Moschino and then by Girolamo Rainaldi, who added courtyards and side wings added to the original rectangular floorplan.
Giovanni Boscoli designed a huge fountain in front of the new palace, with several statues and water features - Vitellozzo Vitelli argued in a letter to Pico della Mirandola that it was superior to that at the Palazzo Farnese in Caprarola. The palace reached its greatest magnificence during the reign of Ranuccio I Farnese, but was abandoned little by little under his son Odoardo I Farnese, distracted from court life by military campaigns. The ducal court used it until the second half of the 17th century, when they moved to other palaces alongside Palazzo della Pilotta. In the 1680s and 1690s the new duke Ranuccio II Farnese started renovating the palace and the ducal gardens. In the 17th century these renovations were mainly to designs by the French architect Ennemond Alexandre Petitot, who also demolished the fountain, which had become insanitary.
After Italian unification the palace became home to an infantry training school. It was badly damaged in an air raid during the Second World War. On 9 September 1943 the school's commander colonel Gaetano Ricci refused German demands to surrender, leading to a battle which the Germans won after calling in armoured vehicles, with five dead and twenty wounded on the Italian side, now commemorated by a marble plaque on the palazzo. The building was left open to vandals after the battle, leaving it devastated by the war's end. Post-war rebuilding became entangled in bureaucracy even after the Palazzo became a base for the Comando della Legione of the Carabinieri - reconstruction work on the completely-destroyed south-west wing only began in 1959 and was completed in 1968. A number of restoration and improvement projects have occurred since 2004, some with lottery funding.

Answer: sforza


Question: Who designed this palace?

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

Begun in 1561 by Ottavio Farnese, who needed to establish a fixed base for the court of his Duchy of Parma and Piacenza. He chose a site near a turret designed by the Sforza and commissioned Jacopo Barozzi to design it and Giovanni Francesco Testa to manage the building work. It was based on the Farnese family's contemporary buildings in Florence and Rome, including the Palazzo Farnese and Villa Farnese.
The palace's decorative scheme was commissioned from artists such as Girolamo Mirola, Jacopo Zanguidi (known as il Bertoja), Agostino Carracci, Carlo Cignani, Jan Soens, Cesare Baglioni, Giovanni Battista Trotti (known as "il Malosso") and Luca Reti. The building was already being modified and extended early in the 17th century, firstly by Simone Moschino and then by Girolamo Rainaldi, who added courtyards and side wings added to the original rectangular floorplan.
Giovanni Boscoli designed a huge fountain in front of the new palace, with several statues and water features - Vitellozzo Vitelli argued in a letter to Pico della Mirandola that it was superior to that at the Palazzo Farnese in Caprarola. The palace reached its greatest magnificence during the reign of Ranuccio I Farnese, but was abandoned little by little under his son Odoardo I Farnese, distracted from court life by military campaigns. The ducal court used it until the second half of the 17th century, when they moved to other palaces alongside Palazzo della Pilotta. In the 1680s and 1690s the new duke Ranuccio II Farnese started renovating the palace and the ducal gardens. In the 17th century these renovations were mainly to designs by the French architect Ennemond Alexandre Petitot, who also demolished the fountain, which had become insanitary.
After Italian unification the palace became home to an infantry training school. It was badly damaged in an air raid during the Second World War. On 9 September 1943 the school's commander colonel Gaetano Ricci refused German demands to surrender, leading to a battle which the Germans won after calling in armoured vehicles, with five dead and twenty wounded on the Italian side, now commemorated by a marble plaque on the palazzo. The building was left open to vandals after the battle, leaving it devastated by the war's end. Post-war rebuilding became entangled in bureaucracy even after the Palazzo became a base for the Comando della Legione of the Carabinieri - reconstruction work on the completely-destroyed south-west wing only began in 1959 and was completed in 1968. A number of restoration and improvement projects have occurred since 2004, some with lottery funding.

Answer: sforza


Question: Who designed this palace?

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

Begun in 1561 by Ottavio Farnese, who needed to establish a fixed base for the court of his Duchy of Parma and Piacenza. He chose a site near a turret designed by the Sforza and commissioned Jacopo Barozzi to design it and Giovanni Francesco Testa to manage the building work. It was based on the Farnese family's contemporary buildings in Florence and Rome, including the Palazzo Farnese and Villa Farnese.
The palace's decorative scheme was commissioned from artists such as Girolamo Mirola, Jacopo Zanguidi (known as il Bertoja), Agostino Carracci, Carlo Cignani, Jan Soens, Cesare Baglioni, Giovanni Battista Trotti (known as "il Malosso") and Luca Reti. The building was already being modified and extended early in the 17th century, firstly by Simone Moschino and then by Girolamo Rainaldi, who added courtyards and side wings added to the original rectangular floorplan.
Giovanni Boscoli designed a huge fountain in front of the new palace, with several statues and water features - Vitellozzo Vitelli argued in a letter to Pico della Mirandola that it was superior to that at the Palazzo Farnese in Caprarola. The palace reached its greatest magnificence during the reign of Ranuccio I Farnese, but was abandoned little by little under his son Odoardo I Farnese, distracted from court life by military campaigns. The ducal court used it until the second half of the 17th century, when they moved to other palaces alongside Palazzo della Pilotta. In the 1680s and 1690s the new duke Ranuccio II Farnese started renovating the palace and the ducal gardens. In the 17th century these renovations were mainly to designs by the French architect Ennemond Alexandre Petitot, who also demolished the fountain, which had become insanitary.
After Italian unification the palace became home to an infantry training school. It was badly damaged in an air raid during the Second World War. On 9 September 1943 the school's commander colonel Gaetano Ricci refused German demands to surrender, leading to a battle which the Germans won after calling in armoured vehicles, with five dead and twenty wounded on the Italian side, now commemorated by a marble plaque on the palazzo. The building was left open to vandals after the battle, leaving it devastated by the war's end. Post-war rebuilding became entangled in bureaucracy even after the Palazzo became a base for the Comando della Legione of the Carabinieri - reconstruction work on the completely-destroyed south-west wing only began in 1959 and was completed in 1968. A number of restoration and improvement projects have occurred since 2004, some with lottery funding.

Answer: sforza


Question: Who designed this palace?

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

Begun in 1561 by Ottavio Farnese, who needed to establish a fixed base for the court of his Duchy of Parma and Piacenza. He chose a site near a turret designed by the Sforza and commissioned Jacopo Barozzi to design it and Giovanni Francesco Testa to manage the building work. It was based on the Farnese family's contemporary buildings in Florence and Rome, including the Palazzo Farnese and Villa Farnese.
The palace's decorative scheme was commissioned from artists such as Girolamo Mirola, Jacopo Zanguidi (known as il Bertoja), Agostino Carracci, Carlo Cignani, Jan Soens, Cesare Baglioni, Giovanni Battista Trotti (known as "il Malosso") and Luca Reti. The building was already being modified and extended early in the 17th century, firstly by Simone Moschino and then by Girolamo Rainaldi, who added courtyards and side wings added to the original rectangular floorplan.
Giovanni Boscoli designed a huge fountain in front of the new palace, with several statues and water features - Vitellozzo Vitelli argued in a letter to Pico della Mirandola that it was superior to that at the Palazzo Farnese in Caprarola. The palace reached its greatest magnificence during the reign of Ranuccio I Farnese, but was abandoned little by little under his son Odoardo I Farnese, distracted from court life by military campaigns. The ducal court used it until the second half of the 17th century, when they moved to other palaces alongside Palazzo della Pilotta. In the 1680s and 1690s the new duke Ranuccio II Farnese started renovating the palace and the ducal gardens. In the 17th century these renovations were mainly to designs by the French architect Ennemond Alexandre Petitot, who also demolished the fountain, which had become insanitary.
After Italian unification the palace became home to an infantry training school. It was badly damaged in an air raid during the Second World War. On 9 September 1943 the school's commander colonel Gaetano Ricci refused German demands to surrender, leading to a battle which the Germans won after calling in armoured vehicles, with five dead and twenty wounded on the Italian side, now commemorated by a marble plaque on the palazzo. The building was left open to vandals after the battle, leaving it devastated by the war's end. Post-war rebuilding became entangled in bureaucracy even after the Palazzo became a base for the Comando della Legione of the Carabinieri - reconstruction work on the completely-destroyed south-west wing only began in 1959 and was completed in 1968. A number of restoration and improvement projects have occurred since 2004, some with lottery funding.

Answer: sforza


Question: Who designed this palace?

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

Begun in 1561 by Ottavio Farnese, who needed to establish a fixed base for the court of his Duchy of Parma and Piacenza. He chose a site near a turret designed by the Sforza and commissioned Jacopo Barozzi to design it and Giovanni Francesco Testa to manage the building work. It was based on the Farnese family's contemporary buildings in Florence and Rome, including the Palazzo Farnese and Villa Farnese.
The palace's decorative scheme was commissioned from artists such as Girolamo Mirola, Jacopo Zanguidi (known as il Bertoja), Agostino Carracci, Carlo Cignani, Jan Soens, Cesare Baglioni, Giovanni Battista Trotti (known as "il Malosso") and Luca Reti. The building was already being modified and extended early in the 17th century, firstly by Simone Moschino and then by Girolamo Rainaldi, who added courtyards and side wings added to the original rectangular floorplan.
Giovanni Boscoli designed a huge fountain in front of the new palace, with several statues and water features - Vitellozzo Vitelli argued in a letter to Pico della Mirandola that it was superior to that at the Palazzo Farnese in Caprarola. The palace reached its greatest magnificence during the reign of Ranuccio I Farnese, but was abandoned little by little under his son Odoardo I Farnese, distracted from court life by military campaigns. The ducal court used it until the second half of the 17th century, when they moved to other palaces alongside Palazzo della Pilotta. In the 1680s and 1690s the new duke Ranuccio II Farnese started renovating the palace and the ducal gardens. In the 17th century these renovations were mainly to designs by the French architect Ennemond Alexandre Petitot, who also demolished the fountain, which had become insanitary.
After Italian unification the palace became home to an infantry training school. It was badly damaged in an air raid during the Second World War. On 9 September 1943 the school's commander colonel Gaetano Ricci refused German demands to surrender, leading to a battle which the Germans won after calling in armoured vehicles, with five dead and twenty wounded on the Italian side, now commemorated by a marble plaque on the palazzo. The building was left open to vandals after the battle, leaving it devastated by the war's end. Post-war rebuilding became entangled in bureaucracy even after the Palazzo became a base for the Comando della Legione of the Carabinieri - reconstruction work on the completely-destroyed south-west wing only began in 1959 and was completed in 1968. A number of restoration and improvement projects have occurred since 2004, some with lottery funding.

Answer: sforza


Question: In which country is this palace located?

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

Baliati Zamindar Bari (Bengali: বালিয়াটি জমিদার বাড়ি) is in the village of Baliati, in Saturia Upazila in Manikganj District, Bangladesh. It is the palace of the Zamindars, the Baliati Zamindari who ruled over a large area. The Baliati Jamindar Bari is located at 23.9952°N 90.0419°E.

Answer: bangladesh


Question: In which country is this palace located?

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

Baliati Zamindar Bari (Bengali: বালিয়াটি জমিদার বাড়ি) is in the village of Baliati, in Saturia Upazila in Manikganj District, Bangladesh. It is the palace of the Zamindars, the Baliati Zamindari who ruled over a large area. The Baliati Jamindar Bari is located at 23.9952°N 90.0419°E.

Answer: bangladesh


Question: In which country is this palace located?

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

Baliati Zamindar Bari (Bengali: বালিয়াটি জমিদার বাড়ি) is in the village of Baliati, in Saturia Upazila in Manikganj District, Bangladesh. It is the palace of the Zamindars, the Baliati Zamindari who ruled over a large area. The Baliati Jamindar Bari is located at 23.9952°N 90.0419°E.

Answer: bangladesh


Question: In which country is this palace located?

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

Baliati Zamindar Bari (Bengali: বালিয়াটি জমিদার বাড়ি) is in the village of Baliati, in Saturia Upazila in Manikganj District, Bangladesh. It is the palace of the Zamindars, the Baliati Zamindari who ruled over a large area. The Baliati Jamindar Bari is located at 23.9952°N 90.0419°E.

Answer: bangladesh


Question: In which country is this palace located?

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

Baliati Zamindar Bari (Bengali: বালিয়াটি জমিদার বাড়ি) is in the village of Baliati, in Saturia Upazila in Manikganj District, Bangladesh. It is the palace of the Zamindars, the Baliati Zamindari who ruled over a large area. The Baliati Jamindar Bari is located at 23.9952°N 90.0419°E.

Answer: bangladesh


Question: In which city is this palace located?

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

Cantacuzino Palace is located on Calea Victoriei no. 141, Bucharest, Romania. It was built by architect Ion D. Berindey in the Beaux Arts style, having a few Rococo Revival rooms. Today it houses the George Enescu museum.

Answer: bucharest


Question: In which city is this palace located?

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

Cantacuzino Palace is located on Calea Victoriei no. 141, Bucharest, Romania. It was built by architect Ion D. Berindey in the Beaux Arts style, having a few Rococo Revival rooms. Today it houses the George Enescu museum.

Answer: bucharest


Question: In which city is this palace located?

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

Cantacuzino Palace is located on Calea Victoriei no. 141, Bucharest, Romania. It was built by architect Ion D. Berindey in the Beaux Arts style, having a few Rococo Revival rooms. Today it houses the George Enescu museum.

Answer: bucharest


Question: In which city is this palace located?

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

Cantacuzino Palace is located on Calea Victoriei no. 141, Bucharest, Romania. It was built by architect Ion D. Berindey in the Beaux Arts style, having a few Rococo Revival rooms. Today it houses the George Enescu museum.

Answer: bucharest


Question: In which city is this palace located?

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

Cantacuzino Palace is located on Calea Victoriei no. 141, Bucharest, Romania. It was built by architect Ion D. Berindey in the Beaux Arts style, having a few Rococo Revival rooms. Today it houses the George Enescu museum.

Answer: bucharest


Question: In which country is this palace located?

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

Schloss Seehof is a Schloss (palace) in Memmelsdorf, Bamberg, Germany. It was built from 1684 to 1695 as a summer residence and hunting lodge for Marquard Sebastian Schenk von Stauffenberg, Prince-bishop of Bamberg.

Answer: germany


Question: In which country is this palace located?

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

Schloss Seehof is a Schloss (palace) in Memmelsdorf, Bamberg, Germany. It was built from 1684 to 1695 as a summer residence and hunting lodge for Marquard Sebastian Schenk von Stauffenberg, Prince-bishop of Bamberg.

Answer: germany


Question: In which country is this palace located?

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

Schloss Seehof is a Schloss (palace) in Memmelsdorf, Bamberg, Germany. It was built from 1684 to 1695 as a summer residence and hunting lodge for Marquard Sebastian Schenk von Stauffenberg, Prince-bishop of Bamberg.

Answer: germany


Question: In which country is this palace located?

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

Schloss Seehof is a Schloss (palace) in Memmelsdorf, Bamberg, Germany. It was built from 1684 to 1695 as a summer residence and hunting lodge for Marquard Sebastian Schenk von Stauffenberg, Prince-bishop of Bamberg.

Answer: germany


Question: In which country is this palace located?

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

Schloss Seehof is a Schloss (palace) in Memmelsdorf, Bamberg, Germany. It was built from 1684 to 1695 as a summer residence and hunting lodge for Marquard Sebastian Schenk von Stauffenberg, Prince-bishop of Bamberg.

Answer: germany


Question: In which city is this palace located?

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

The Umayyad Palace (Arabic: القصر الأموي) is a large palatial complex from the Umayyad period, located on the Citadel Hill (Jabal al-Qal'a) of Amman, Jordan. Built during the first half of the 8th century, it is now largely ruined, with a restored domed entrance chamber, known as the "kiosk" or "monumental gateway".

Answer: amman


Question: In which city is this palace located?

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

The Umayyad Palace (Arabic: القصر الأموي) is a large palatial complex from the Umayyad period, located on the Citadel Hill (Jabal al-Qal'a) of Amman, Jordan. Built during the first half of the 8th century, it is now largely ruined, with a restored domed entrance chamber, known as the "kiosk" or "monumental gateway".

Answer: amman


Question: In which city is this palace located?

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

The Umayyad Palace (Arabic: القصر الأموي) is a large palatial complex from the Umayyad period, located on the Citadel Hill (Jabal al-Qal'a) of Amman, Jordan. Built during the first half of the 8th century, it is now largely ruined, with a restored domed entrance chamber, known as the "kiosk" or "monumental gateway".

Answer: amman


Question: In which city is this palace located?

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

The Umayyad Palace (Arabic: القصر الأموي) is a large palatial complex from the Umayyad period, located on the Citadel Hill (Jabal al-Qal'a) of Amman, Jordan. Built during the first half of the 8th century, it is now largely ruined, with a restored domed entrance chamber, known as the "kiosk" or "monumental gateway".

Answer: amman


Question: In which city is this palace located?

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

The Umayyad Palace (Arabic: القصر الأموي) is a large palatial complex from the Umayyad period, located on the Citadel Hill (Jabal al-Qal'a) of Amman, Jordan. Built during the first half of the 8th century, it is now largely ruined, with a restored domed entrance chamber, known as the "kiosk" or "monumental gateway".

Answer: amman


Question: Who is in charge of maintaining this park?

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

In 2005, the Indian National Trust for Art and Cultural Heritage (INTACH) and Government of Delhi resolved to restore Coronation Park, which was in a state of neglect.
INTACH has also decided to complete the heritage corridor along with also improving and standardising the signs on Delhi's roads from Coronation Park in the north to Qutab Minar in south as part of the beautification of Delhi before the 2010 Commonwealth Games.
Delhi Development Authority (DDA) has prepared a Draft Zonal Development Plan for Zone – "C" (Civil Lines Zone) which includes the Conservation & Heritage of the precincts of the Coronation Pillar. DDA expects to develop it as a tourist spot since it is very close to the National Highway 1 (NH 1) bypass. It is also intended to develop the area around the Nirankari Sarovar, which has been earmarked for green/water body with sports facilities. In 2017, however, after missing several project deadlines, the park largely remained in a state of neglect.

Answer: delhi development authority (dda)


Question: Who is in charge of maintaining this park?

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

In 2005, the Indian National Trust for Art and Cultural Heritage (INTACH) and Government of Delhi resolved to restore Coronation Park, which was in a state of neglect.
INTACH has also decided to complete the heritage corridor along with also improving and standardising the signs on Delhi's roads from Coronation Park in the north to Qutab Minar in south as part of the beautification of Delhi before the 2010 Commonwealth Games.
Delhi Development Authority (DDA) has prepared a Draft Zonal Development Plan for Zone – "C" (Civil Lines Zone) which includes the Conservation & Heritage of the precincts of the Coronation Pillar. DDA expects to develop it as a tourist spot since it is very close to the National Highway 1 (NH 1) bypass. It is also intended to develop the area around the Nirankari Sarovar, which has been earmarked for green/water body with sports facilities. In 2017, however, after missing several project deadlines, the park largely remained in a state of neglect.

Answer: delhi development authority (dda)


Question: Who is in charge of maintaining this park?

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

In 2005, the Indian National Trust for Art and Cultural Heritage (INTACH) and Government of Delhi resolved to restore Coronation Park, which was in a state of neglect.
INTACH has also decided to complete the heritage corridor along with also improving and standardising the signs on Delhi's roads from Coronation Park in the north to Qutab Minar in south as part of the beautification of Delhi before the 2010 Commonwealth Games.
Delhi Development Authority (DDA) has prepared a Draft Zonal Development Plan for Zone – "C" (Civil Lines Zone) which includes the Conservation & Heritage of the precincts of the Coronation Pillar. DDA expects to develop it as a tourist spot since it is very close to the National Highway 1 (NH 1) bypass. It is also intended to develop the area around the Nirankari Sarovar, which has been earmarked for green/water body with sports facilities. In 2017, however, after missing several project deadlines, the park largely remained in a state of neglect.

Answer: delhi development authority (dda)