gem_id stringlengths 20 25 | id stringlengths 24 24 | title stringlengths 3 59 | context stringlengths 151 3.71k | question stringlengths 1 270 | target stringlengths 1 270 | references list | answers dict |
|---|---|---|---|---|---|---|---|
gem-squad_v2-train-6900 | 5731343b05b4da19006bceb1 | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | Which group in Europe used Kermes dye? | Which group in Europe used Kermes dye? | [
"Which group in Europe used Kermes dye?"
] | {
"text": [
"the wealthy"
],
"answer_start": [
248
]
} |
gem-squad_v2-train-6901 | 5731343b05b4da19006bceb2 | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | The wealthiest in Europe used what red dye? | The wealthiest in Europe used what red dye? | [
"The wealthiest in Europe used what red dye?"
] | {
"text": [
"Polish Cochineal"
],
"answer_start": [
411
]
} |
gem-squad_v2-train-6902 | 5731343b05b4da19006bceb3 | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | What dye was known as the Blood of Saint John? | What dye was known as the Blood of Saint John? | [
"What dye was known as the Blood of Saint John?"
] | {
"text": [
"Kermes vermilio"
],
"answer_start": [
443
]
} |
gem-squad_v2-train-6903 | 5731343b05b4da19006bceb4 | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | The Blood of Saint John was made from an insect, which one? | The Blood of Saint John was made from an insect, which one? | [
"The Blood of Saint John was made from an insect, which one?"
] | {
"text": [
"Margodes polonicus"
],
"answer_start": [
527
]
} |
gem-squad_v2-train-6904 | 5ad4d9c65b96ef001a10a3ba | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | What was the Venice plant used to make? | What was the Venice plant used to make? | [
"What was the Venice plant used to make?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6905 | 5ad4d9c65b96ef001a10a3bb | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | How was the finest red of Kermes vermilio made? | How was the finest red of Kermes vermilio made? | [
"How was the finest red of Kermes vermilio made?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6906 | 5ad4d9c65b96ef001a10a3bc | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | What city was rubia used to make dyes for the wealthy? | What city was rubia used to make dyes for the wealthy? | [
"What city was rubia used to make dyes for the wealthy?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6907 | 5ad4d9c65b96ef001a10a3bd | Red | There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was Kermes, made from a tiny scale insect which fed on the branches and leaves of the oak tree. For those with even more money there was Polish Cochineal; also known as Kermes vermilio or "Blood of Saint John", which was made from a related insect, the Margodes polonicus. It made a more vivid red than ordinary Kermes. The finest and most expensive variety of red made from insects was the "Kermes" of Armenia (Armenian cochineal, also known as Persian kirmiz), made by collecting and crushing Porphyophora hamelii, an insect which lived on the roots and stems of certain grasses. The pigment and dye merchants of Venice imported and sold all of these products and also manufactured their own color, called Venetian red, which was considered the most expensive and finest red in Europe. Its secret ingredient was arsenic, which brightened the color. | What insect was found in Persia? | What insect was found in Persia? | [
"What insect was found in Persia?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6908 | 573135b605b4da19006bcecc | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | In what century did a new kind of red pigment arrive in Europe from the Aztec Empire? | In what century did a new kind of red pigment arrive in Europe from the Aztec Empire? | [
"In what century did a new kind of red pigment arrive in Europe from the Aztec Empire?"
] | {
"text": [
"16th"
],
"answer_start": [
17
]
} |
gem-squad_v2-train-6909 | 573135b605b4da19006bcecd | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | Which conquistador from Spain conquered the Aztec Empire? | Which conquistador from Spain conquered the Aztec Empire? | [
"Which conquistador from Spain conquered the Aztec Empire?"
] | {
"text": [
"Hernán Cortés"
],
"answer_start": [
101
]
} |
gem-squad_v2-train-6910 | 573135b605b4da19006bcece | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | During what years was the Aztec Empire conquered? | During what years was the Aztec Empire conquered? | [
"During what years was the Aztec Empire conquered?"
] | {
"text": [
"1519-1521"
],
"answer_start": [
162
]
} |
gem-squad_v2-train-6911 | 573135b605b4da19006bcecf | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | How often could the Mexican cochineal be harvested? | How often could the Mexican cochineal be harvested? | [
"How often could the Mexican cochineal be harvested?"
] | {
"text": [
"several times a year"
],
"answer_start": [
525
]
} |
gem-squad_v2-train-6912 | 573135b605b4da19006bced0 | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | In what year did Cortes send the first cochineal to Spain? | In what year did Cortes send the first cochineal to Spain? | [
"In what year did Cortes send the first cochineal to Spain?"
] | {
"text": [
"1523"
],
"answer_start": [
677
]
} |
gem-squad_v2-train-6913 | 5ad4da955b96ef001a10a3f0 | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | What Aztec conquistador conquered the Spanish Empire? | What Aztec conquistador conquered the Spanish Empire? | [
"What Aztec conquistador conquered the Spanish Empire?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6914 | 5ad4da955b96ef001a10a3f1 | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | What happened in 1519? | What happened in 1519? | [
"What happened in 1519?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6915 | 5ad4da955b96ef001a10a3f2 | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | Who conquered the Spanish Empire in 1519-1521? | Who conquered the Spanish Empire in 1519-1521? | [
"Who conquered the Spanish Empire in 1519-1521?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6916 | 5ad4da955b96ef001a10a3f3 | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | Who sent the first shipment to Spain in 1532? | Who sent the first shipment to Spain in 1532? | [
"Who sent the first shipment to Spain in 1532?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6917 | 5ad4da955b96ef001a10a3f4 | Red | But early in the 16th century, a brilliant new red appeared in Europe. When the Spanish conquistador Hernán Cortés and his soldiers conquered the Aztec Empire in 1519-1521, they discovered slowly that the Aztecs had another treasure beside silver and gold; they had the tiny cochineal, a parasitic scale insect which lived on cactus plants, which, when dried and crushed, made a magnificent red. The cochineal in Mexico was closely related to the Kermes varieties of Europe, but unlike European Kermes, it could be harvested several times a year, and it was ten times stronger than the Kermes of Poland. It worked particularly well on silk, satin and other luxury textiles. In 1523 Cortes sent the first shipment to Spain. Soon cochineal began to arrive in European ports aboard convoys of Spanish galleons. | What happened in 1532? | What happened in 1532? | [
"What happened in 1532?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6918 | 5731366ea5e9cc1400cdbcf1 | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | What was kermes lake made from? | What was kermes lake made from? | [
"What was kermes lake made from?"
] | {
"text": [
"kermes insects"
],
"answer_start": [
145
]
} |
gem-squad_v2-train-6919 | 5731366ea5e9cc1400cdbcf2 | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | What was madder lake made from? | What was madder lake made from? | [
"What was madder lake made from?"
] | {
"text": [
"rubia tinctorum plant"
],
"answer_start": [
192
]
} |
gem-squad_v2-train-6920 | 5731366ea5e9cc1400cdbcf3 | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | What did Renaissance painters call the pigment made from cochineal? | What did Renaissance painters call the pigment made from cochineal? | [
"What did Renaissance painters call the pigment made from cochineal?"
] | {
"text": [
"carmine"
],
"answer_start": [
264
]
} |
gem-squad_v2-train-6921 | 5731366ea5e9cc1400cdbcf4 | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | During what century did carmine start to see use? | During what century did carmine start to see use? | [
"During what century did carmine start to see use?"
] | {
"text": [
"15th"
],
"answer_start": [
421
]
} |
gem-squad_v2-train-6922 | 5731366ea5e9cc1400cdbcf5 | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | What would to the carmine pigment if not used diligently? | What would to the carmine pigment if not used diligently? | [
"What would to the carmine pigment if not used diligently?"
] | {
"text": [
"change color"
],
"answer_start": [
333
]
} |
gem-squad_v2-train-6923 | 5ad4dba25b96ef001a10a448 | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | What was used by all painters? | What was used by all painters? | [
"What was used by all painters?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6924 | 5ad4dba25b96ef001a10a449 | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | Who were the great painters of the 15th century? | Who were the great painters of the 15th century? | [
"Who were the great painters of the 15th century?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6925 | 5ad4dba25b96ef001a10a44a | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | What 16th century painters used carmine? | What 16th century painters used carmine? | [
"What 16th century painters used carmine?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6926 | 5ad4dba25b96ef001a10a44b | Red | The painters of the early Renaissance used two traditional lake pigments, made from mixing dye with either chalk or alum, kermes lake, made from kermes insects, and madder lake, made from the rubia tinctorum plant. With the arrival of cochineal, they had a third, carmine, which made a very fine crimson, though it had a tendency to change color if not used carefully. It was used by almost all the great painters of the 15th and 16th centuries, including Rembrandt, Vermeer, Rubens, Anthony van Dyck, Diego Velázquez and Tintoretto. Later it was used by Thomas Gainsborough, Seurat and J.M.W. Turner. | What did J.W.M Turner use? | What did J.W.M Turner use? | [
"What did J.W.M Turner use?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6927 | 57313738497a881900248c67 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | During which revolution was red a symbol of liberty? | During which revolution was red a symbol of liberty? | [
"During which revolution was red a symbol of liberty?"
] | {
"text": [
"French Revolution"
],
"answer_start": [
11
]
} |
gem-squad_v2-train-6928 | 57313738497a881900248c68 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | What kind of cap did the Jacobins wear? | What kind of cap did the Jacobins wear? | [
"What kind of cap did the Jacobins wear?"
] | {
"text": [
"red Phrygian cap, or liberty cap"
],
"answer_start": [
155
]
} |
gem-squad_v2-train-6929 | 57313738497a881900248c69 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | Women with red caps crowded around guillotines during the Reign of Terror to do what? | Women with red caps crowded around guillotines during the Reign of Terror to do what? | [
"Women with red caps crowded around guillotines during the Reign of Terror to do what?"
] | {
"text": [
"celebrate"
],
"answer_start": [
349
]
} |
gem-squad_v2-train-6930 | 57313738497a881900248c6a | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | During what years did the Reign of Terror take place? | During what years did the Reign of Terror take place? | [
"During what years did the Reign of Terror take place?"
] | {
"text": [
"1792 and 1793"
],
"answer_start": [
475
]
} |
gem-squad_v2-train-6931 | 57313738497a881900248c6b | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | Who was Saint Denis? | Who was Saint Denis? | [
"Who was Saint Denis?"
] | {
"text": [
"Christian martyr and patron saint of Paris"
],
"answer_start": [
816
]
} |
gem-squad_v2-train-6932 | 5ad4dc675b96ef001a10a464 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | What became a symbol of liberty during the Phrygian Revolution? | What became a symbol of liberty during the Phrygian Revolution? | [
"What became a symbol of liberty during the Phrygian Revolution?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6933 | 5ad4dc675b96ef001a10a465 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | What did red become a symbol of during the Phrygian Revolution? | What did red become a symbol of during the Phrygian Revolution? | [
"What did red become a symbol of during the Phrygian Revolution?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6934 | 5ad4dc675b96ef001a10a466 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | Who used red as a symbol of liberty and personal freedom during the Phrygian Revolution? | Who used red as a symbol of liberty and personal freedom during the Phrygian Revolution? | [
"Who used red as a symbol of liberty and personal freedom during the Phrygian Revolution?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6935 | 5ad4dc675b96ef001a10a467 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | When did the Terror Reign take place? | When did the Terror Reign take place? | [
"When did the Terror Reign take place?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6936 | 5ad4dc675b96ef001a10a468 | Red | During the French Revolution, Red became a symbol of liberty and personal freedom used by the Jacobins and other more radical parties. Many of them wore a red Phrygian cap, or liberty cap, modeled after the caps worn by freed slaves in Ancient Rome. During the height of the Reign of Terror, Women wearing red caps gathered around the guillotine to celebrate each execution. They were called the "Furies of the guillotine". The guillotines used during the Reign of Terror in 1792 and 1793 were painted red, or made of red wood. During the Reign of Terror a statue of a woman titled liberty, painted red, was placed in the square in front of the guillotine. After the end of the Reign of Terror, France went back to the blue, white and red tricolor, whose red was taken from the traditional color of Saint Denis, the Christian martyr and patron saint of Paris. | What colors did France go back to during the Reign of Terror? | What colors did France go back to during the Reign of Terror? | [
"What colors did France go back to during the Reign of Terror?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6937 | 573137fba5e9cc1400cdbd15 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | What was Turkey red called in France? | What was Turkey red called in France? | [
"What was Turkey red called in France?"
] | {
"text": [
"rouge d'Adrinople"
],
"answer_start": [
289
]
} |
gem-squad_v2-train-6938 | 573137fba5e9cc1400cdbd16 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | In what years did Turkey red begin to be used to dye cotton in England? | In what years did Turkey red begin to be used to dye cotton in England? | [
"In what years did Turkey red begin to be used to dye cotton in England?"
] | {
"text": [
"the 1740s"
],
"answer_start": [
321
]
} |
gem-squad_v2-train-6939 | 573137fba5e9cc1400cdbd17 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | What did turkey red get its color from? | What did turkey red get its color from? | [
"What did turkey red get its color from?"
] | {
"text": [
"madder"
],
"answer_start": [
451
]
} |
gem-squad_v2-train-6940 | 573137fba5e9cc1400cdbd18 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | What other pigment was Turkey red compared to? | What other pigment was Turkey red compared to? | [
"What other pigment was Turkey red compared to?"
] | {
"text": [
"carmine"
],
"answer_start": [
710
]
} |
gem-squad_v2-train-6941 | 573137fba5e9cc1400cdbd19 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | In what century did quilts in America commonly use Turkey red? | In what century did quilts in America commonly use Turkey red? | [
"In what century did quilts in America commonly use Turkey red?"
] | {
"text": [
"19th"
],
"answer_start": [
833
]
} |
gem-squad_v2-train-6942 | 5ad4dd725b96ef001a10a4c6 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | What was red known as in Turkey? | What was red known as in Turkey? | [
"What was red known as in Turkey?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6943 | 5ad4dd725b96ef001a10a4c7 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | What popular color was imported from France in the 18th century? | What popular color was imported from France in the 18th century? | [
"What popular color was imported from France in the 18th century?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6944 | 5ad4dd725b96ef001a10a4c8 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | What began in 1740? | What began in 1740? | [
"What began in 1740?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6945 | 5ad4dd725b96ef001a10a4c9 | Red | As the Industrial Revolution spread across Europe, chemists and manufacturers sought new red dyes that could be used for large-scale manufacture of textiles. One popular color imported into Europe from Turkey and India in the 18th and early 19th century was Turkey red, known in France as rouge d'Adrinople. Beginning in the 1740s, this bright red color was used to dye or print cotton textiles in England, the Netherlands and France. Turkey red used madder as the colorant, but the process was longer and more complicated, involving multiple soaking of the fabrics in lye, olive oil, sheep's dung, and other ingredients. The fabric was more expensive but resulted in a fine bright and lasting red, similar to carmine, perfectly suited to cotton. The fabric was widely exported from Europe to Africa, the Middle East and America. In 19th century America, it was widely used in making the traditional patchwork quilt. | What was cotton widely used for in 19th century Europe? | What was cotton widely used for in 19th century Europe? | [
"What was cotton widely used for in 19th century Europe?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6946 | 5731388ea5e9cc1400cdbd29 | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | In which century did color theory begin to be systematically studied? | In which century did color theory begin to be systematically studied? | [
"In which century did color theory begin to be systematically studied?"
] | {
"text": [
"19th"
],
"answer_start": [
4
]
} |
gem-squad_v2-train-6947 | 5731388ea5e9cc1400cdbd2a | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | Who painted the Night Cafe? | Who painted the Night Cafe? | [
"Who painted the Night Cafe?"
] | {
"text": [
"Vincent van Gogh"
],
"answer_start": [
345
]
} |
gem-squad_v2-train-6948 | 5731388ea5e9cc1400cdbd2b | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | In what year was The Night Cafe painted? | In what year was The Night Cafe painted? | [
"In what year was The Night Cafe painted?"
] | {
"text": [
"1888"
],
"answer_start": [
427
]
} |
gem-squad_v2-train-6949 | 5731388ea5e9cc1400cdbd2c | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | What was the name of vincent van Gogh's brother? | What was the name of vincent van Gogh's brother? | [
"What was the name of vincent van Gogh's brother?"
] | {
"text": [
"Theo"
],
"answer_start": [
419
]
} |
gem-squad_v2-train-6950 | 5731388ea5e9cc1400cdbd2d | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | What occurred when red and green were put next to one another? | What occurred when red and green were put next to one another? | [
"What occurred when red and green were put next to one another?"
] | {
"text": [
"red and green reinforced each other"
],
"answer_start": [
213
]
} |
gem-squad_v2-train-6951 | 5ad4dfcf5b96ef001a10a506 | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | What century saw red to only imitate nature? | What century saw red to only imitate nature? | [
"What century saw red to only imitate nature?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6952 | 5ad4dfcf5b96ef001a10a507 | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | Who did Theo write to in 1888? | Who did Theo write to in 1888? | [
"Who did Theo write to in 1888?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6953 | 5ad4dfcf5b96ef001a10a508 | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | What did Theo write to Van Gogh about human passions in 1888? | What did Theo write to Van Gogh about human passions in 1888? | [
"What did Theo write to Van Gogh about human passions in 1888?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6954 | 5ad4dfcf5b96ef001a10a509 | Red | The 19th century also saw the use of red in art to create specific emotions, not just to imitate nature. It saw the systematic study of color theory, and particularly the study of how complementary colors such as red and green reinforced each other when they were placed next to each other. These studies were avidly followed by artists such as Vincent van Gogh. Describing his painting, The Night Cafe, to his brother Theo in 1888, Van Gogh wrote: "I sought to express with red and green the terrible human passions. The hall is blood red and pale yellow, with a green billiard table in the center, and four lamps of lemon yellow, with rays of orange and green. Everywhere it is a battle and antithesis of the most different reds and greens." | Who painted the Cafe Night? | Who painted the Cafe Night? | [
"Who painted the Cafe Night?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6955 | 57313ab1e6313a140071cd46 | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | During which century did Matisse work? | During which century did Matisse work? | [
"During which century did Matisse work?"
] | {
"text": [
"20th"
],
"answer_start": [
34
]
} |
gem-squad_v2-train-6956 | 57313ab1e6313a140071cd47 | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | Placing red and green next to each other causes their color to be what? | Placing red and green next to each other causes their color to be what? | [
"Placing red and green next to each other causes their color to be what?"
] | {
"text": [
"strengthened"
],
"answer_start": [
310
]
} |
gem-squad_v2-train-6957 | 57313ab1e6313a140071cd48 | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | What color did Matisse say could penetate ones soul? | What color did Matisse say could penetate ones soul? | [
"What color did Matisse say could penetate ones soul?"
] | {
"text": [
"blue"
],
"answer_start": [
143
]
} |
gem-squad_v2-train-6958 | 57313ab1e6313a140071cd49 | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | What color did Matisse claim would impact ones blood pressure? | What color did Matisse claim would impact ones blood pressure? | [
"What color did Matisse claim would impact ones blood pressure?"
] | {
"text": [
"red"
],
"answer_start": [
192
]
} |
gem-squad_v2-train-6959 | 57313ab1e6313a140071cd4a | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | What part in the paintings of Matisse did color play? | What part in the paintings of Matisse did color play? | [
"What part in the paintings of Matisse did color play?"
] | {
"text": [
"the central element"
],
"answer_start": [
69
]
} |
gem-squad_v2-train-6960 | 5ad4e0615b96ef001a10a50e | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | Who was the first to make color the central element of the painting? | Who was the first to make color the central element of the painting? | [
"Who was the first to make color the central element of the painting?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6961 | 5ad4e0615b96ef001a10a50f | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | What theory did Matisse say his choice of colors was based on? | What theory did Matisse say his choice of colors was based on? | [
"What theory did Matisse say his choice of colors was based on?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6962 | 5ad4e0615b96ef001a10a510 | Red | Matisse was also one of the first 20th-century artists to make color the central element of the painting, chosen to evoke emotions. "A certain blue penetrates your soul", he wrote. "A certain red affects your blood pressure." He also was familiar with the way that complementary colors, such as red and green, strengthened each other when they were placed next to each other. He wrote, "My choice of colors is not based on scientific theory; it is based on observation, upon feelings, upon the real nature of each experience ... I just try to find a color which corresponds to my feelings." | Who was the first 20th century artist to use color for feelings? | Who was the first 20th century artist to use color for feelings? | [
"Who was the first 20th century artist to use color for feelings?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6963 | 57313b47e6313a140071cd58 | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | In what year did Rothko donate Passion of Christ murals? | In what year did Rothko donate Passion of Christ murals? | [
"In what year did Rothko donate Passion of Christ murals?"
] | {
"text": [
"1962"
],
"answer_start": [
90
]
} |
gem-squad_v2-train-6964 | 57313b47e6313a140071cd59 | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | To whom did Rothko donate Passion of Christ murals? | To whom did Rothko donate Passion of Christ murals? | [
"To whom did Rothko donate Passion of Christ murals?"
] | {
"text": [
"Harvard University"
],
"answer_start": [
109
]
} |
gem-squad_v2-train-6965 | 57313b47e6313a140071cd5a | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | What organic reds did Rothko use in the Passion of Christ murals? | What organic reds did Rothko use in the Passion of Christ murals? | [
"What organic reds did Rothko use in the Passion of Christ murals?"
] | {
"text": [
"Naphtol and Lithol"
],
"answer_start": [
398
]
} |
gem-squad_v2-train-6966 | 57313b47e6313a140071cd5b | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | In what year had the Passion of Christ murals by Rothko end up ruined? | In what year had the Passion of Christ murals by Rothko end up ruined? | [
"In what year had the Passion of Christ murals by Rothko end up ruined?"
] | {
"text": [
"1979"
],
"answer_start": [
578
]
} |
gem-squad_v2-train-6967 | 57313b47e6313a140071cd5c | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | What was the result of the change in color in the Rothko Passion of the Christ murals? | What was the result of the change in color in the Rothko Passion of the Christ murals? | [
"What was the result of the change in color in the Rothko Passion of the Christ murals?"
] | {
"text": [
"ruined and had to be taken down"
],
"answer_start": [
602
]
} |
gem-squad_v2-train-6968 | 5ad4e1175b96ef001a10a51e | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | What year were synthetic pigments first used? | What year were synthetic pigments first used? | [
"What year were synthetic pigments first used?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6969 | 5ad4e1175b96ef001a10a51f | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | Who first used synthetic pigments in 1962? | Who first used synthetic pigments in 1962? | [
"Who first used synthetic pigments in 1962?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6970 | 5ad4e1175b96ef001a10a520 | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | What university did Rothko attend? | What university did Rothko attend? | [
"What university did Rothko attend?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6971 | 5ad4e1175b96ef001a10a521 | Red | Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down. | What happened in 1997? | What happened in 1997? | [
"What happened in 1997?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6972 | 57313c0a497a881900248cad | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | What was red ochre composed of? | What was red ochre composed of? | [
"What was red ochre composed of?"
] | {
"text": [
"minerals"
],
"answer_start": [
41
]
} |
gem-squad_v2-train-6973 | 57313c0a497a881900248cae | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | How were pigments like red lake created? | How were pigments like red lake created? | [
"How were pigments like red lake created?"
] | {
"text": [
"mixing organic dyes"
],
"answer_start": [
81
]
} |
gem-squad_v2-train-6974 | 57313c0a497a881900248caf | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | What was red lake composed of? | What was red lake composed of? | [
"What was red lake composed of?"
] | {
"text": [
"insects or plants, with white chalk or alum"
],
"answer_start": [
112
]
} |
gem-squad_v2-train-6975 | 57313c0a497a881900248cb0 | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | What was the source of color in Red lac? | What was the source of color in Red lac? | [
"What was the source of color in Red lac?"
] | {
"text": [
"the dark red resinous substance secreted by various scale insects"
],
"answer_start": [
192
]
} |
gem-squad_v2-train-6976 | 57313c0a497a881900248cb1 | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | The Laccifer lacca was crucial to making what pigment? | The Laccifer lacca was crucial to making what pigment? | [
"The Laccifer lacca was crucial to making what pigment?"
] | {
"text": [
"Red lac"
],
"answer_start": [
157
]
} |
gem-squad_v2-train-6977 | 5ad4e19e5b96ef001a10a530 | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | What color lake pigments were made from minerals? | What color lake pigments were made from minerals? | [
"What color lake pigments were made from minerals?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6978 | 5ad4e19e5b96ef001a10a531 | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | What was made from red gum? | What was made from red gum? | [
"What was made from red gum?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6979 | 5ad4e19e5b96ef001a10a532 | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | What continent is Laccifer lacca found on? | What continent is Laccifer lacca found on? | [
"What continent is Laccifer lacca found on?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6980 | 5ad4e19e5b96ef001a10a533 | Red | Unlike vermilion or red ochre, made from minerals, red lake pigments are made by mixing organic dyes, made from insects or plants, with white chalk or alum. Red lac was made from the gum lac, the dark red resinous substance secreted by various scale insects, particularly the Laccifer lacca from India. Carmine lake was made from the cochineal insect from Central and South America, Kermes lake came from a different scale insect, kermes vermilio, which thrived on oak trees around the Mediterranean. Other red lakes were made from the rose madder plant and from the brazilwood tree. | What country was carmine found? | What country was carmine found? | [
"What country was carmine found?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6981 | 57313cc0a5e9cc1400cdbd7f | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | Which colors are part of the RGB model? | Which colors are part of the RGB model? | [
"Which colors are part of the RGB model?"
] | {
"text": [
"red, green and blue"
],
"answer_start": [
59
]
} |
gem-squad_v2-train-6982 | 57313cc0a5e9cc1400cdbd80 | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | What color light is created when one mixes red, green, and blue? | What color light is created when one mixes red, green, and blue? | [
"What color light is created when one mixes red, green, and blue?"
] | {
"text": [
"white"
],
"answer_start": [
158
]
} |
gem-squad_v2-train-6983 | 57313cc0a5e9cc1400cdbd81 | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | The RGB color model has three colors in it that are described as what kind of colors? | The RGB color model has three colors in it that are described as what kind of colors? | [
"The RGB color model has three colors in it that are described as what kind of colors?"
] | {
"text": [
"additive primary colors"
],
"answer_start": [
83
]
} |
gem-squad_v2-train-6984 | 57313cc0a5e9cc1400cdbd82 | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | Which era did Cennino Cennini actively paint in? | Which era did Cennino Cennini actively paint in? | [
"Which era did Cennino Cennini actively paint in?"
] | {
"text": [
"the Renaissance"
],
"answer_start": [
469
]
} |
gem-squad_v2-train-6985 | 57313cc0a5e9cc1400cdbd83 | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | What colors are used to create purple on a computer screen? | What colors are used to create purple on a computer screen? | [
"What colors are used to create purple on a computer screen?"
] | {
"text": [
"red and blue"
],
"answer_start": [
584
]
} |
gem-squad_v2-train-6986 | 5ad4e3ca5b96ef001a10a56a | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | What RBG stand for? | What RBG stand for? | [
"What RBG stand for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6987 | 5ad4e3ca5b96ef001a10a56b | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | What colors are in the RBG model? | What colors are in the RBG model? | [
"What colors are in the RBG model?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6988 | 5ad4e3ca5b96ef001a10a56c | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | What color did Cennini Cennino make? | What color did Cennini Cennino make? | [
"What color did Cennini Cennino make?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6989 | 5ad4e3ca5b96ef001a10a56d | Red | In modern color theory, also known as the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined together makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This is the principle that is used to make all of the colors on your computer screen and your television. For example, purple on a computer screen is made by a similar formula to used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light. | When did Cennini Cennino make violet? | When did Cennini Cennino make violet? | [
"When did Cennini Cennino make violet? "
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6990 | 57313d5fa5e9cc1400cdbd89 | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | Over what numerical scale is color measured on a computer screen? | Over what numerical scale is color measured on a computer screen? | [
"Over what numerical scale is color measured on a computer screen?"
] | {
"text": [
"zero to 255,"
],
"answer_start": [
292
]
} |
gem-squad_v2-train-6991 | 57313d5fa5e9cc1400cdbd8a | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | What is the total number of possible sRGB colors? | What is the total number of possible sRGB colors? | [
"What is the total number of possible sRGB colors?"
] | {
"text": [
"16,777,216"
],
"answer_start": [
344
]
} |
gem-squad_v2-train-6992 | 57313d5fa5e9cc1400cdbd8b | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | What is the number used to indicate pure red in sRGB? | What is the number used to indicate pure red in sRGB? | [
"What is the number used to indicate pure red in sRGB?"
] | {
"text": [
"255, 00, 00"
],
"answer_start": [
428
]
} |
gem-squad_v2-train-6993 | 57313d5fa5e9cc1400cdbd8c | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | Crimson is identified by what sRGB number? | Crimson is identified by what sRGB number? | [
"Crimson is identified by what sRGB number?"
] | {
"text": [
"220, 20, 60"
],
"answer_start": [
562
]
} |
gem-squad_v2-train-6994 | 5ad4e4705b96ef001a10a57c | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | What is an sRBG? | What is an sRBG? | [
"What is an sRBG?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6995 | 5ad4e4705b96ef001a10a57d | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | What is measure on a scale from 0 to 525? | What is measure on a scale from 0 to 525? | [
"What is measure on a scale from 0 to 525?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6996 | 5ad4e4705b96ef001a10a57e | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | What are there 16,777,126 of? | What are there 16,777,126 of? | [
"What are there 16,777,126 of?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6997 | 5ad4e4705b96ef001a10a57f | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | What color has an sRGB number of 250, 05, 00? | What color has an sRGB number of 250, 05, 00? | [
"What color has an sRGB number of 250, 05, 00?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6998 | 5ad4e4705b96ef001a10a580 | Red | So that the maximum number of colors can be accurately reproduced on your computer screen, each color has been given a code number, or sRGB, which tells your computer the intensity of the red, green and blue components of that color. The intensity of each component is measured on a scale of zero to 255, which means the complete list includes 16,777,216 distinct colors and shades. The sRGB number of pure red, for example, is 255, 00, 00, which means the red component is at its maximum intensity, and there is no green or blue. The sRGB number for crimson is 220, 20, 60, which means that the red is slightly less intense and therefore darker, there is some green, which leans it toward orange; and there is a larger amount of blue,which makes it slightly blue-violet. | What color has an sRBG number of 220, 20, 60? | What color has an sRBG number of 220, 20, 60? | [
"What color has an sRBG number of 220, 20, 60?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-6999 | 57314067a5e9cc1400cdbdbf | Red | As a ray of white sunlight travels through the atmosphere to the eye, some of the colors are scattered out of the beam by air molecules and airborne particles due to Rayleigh scattering, changing the final color of the beam that is seen. Colors with a shorter wavelength, such as blue and green, scatter more strongly, and are removed from the light that finally reaches the eye. At sunrise and sunset, when the path of the sunlight through the atmosphere to the eye is longest, the blue and green components are removed almost completely, leaving the longer wavelength orange and red light. The remaining reddened sunlight can also be scattered by cloud droplets and other relatively large particles, which give the sky above the horizon its red glow. | What type of scattering is responsible for the shift in the color of sunlight? | What type of scattering is responsible for the shift in the color of sunlight? | [
"What type of scattering is responsible for the shift in the color of sunlight?"
] | {
"text": [
"Rayleigh"
],
"answer_start": [
166
]
} |
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