subsection

モナ・リザ

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: モナ・リザの文脈で、フレームと遺産を説明してください。英語で出力して下さい。


subsection

モナ・リザ

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: モナ・リザの遺産に関するフレームを説明してください。英語で出力して下さい。


subsection

モナ・リザ

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: モナ・リザでは、どのように遺産のフレームが説明されていますか？英語で出力して下さい。


subsection

モナ・リザ

Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.

Prompt: モナ・リザの遺産におけるフレームの特徴を説明してください。英語で出力して下さい。


subsection

モナ・リザ

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: モナ・リザの文脈で、清掃と修正と遺産を説明してください。英語で出力して下さい。


subsection

モナ・リザ

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: モナ・リザの遺産に関する清掃と修正を説明してください。英語で出力して下さい。


subsection

モナ・リザ

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: モナ・リザでは、どのように遺産の清掃と修正が説明されていますか？英語で出力して下さい。


subsection

モナ・リザ

The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.

Prompt: モナ・リザの遺産における清掃と修正の特徴を説明してください。英語で出力して下さい。


subsection

モナ・リザ

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: モナ・リザの文脈で、表示と遺産を説明してください。英語で出力して下さい。


subsection

モナ・リザ

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: モナ・リザの遺産に関する表示を説明してください。英語で出力して下さい。


subsection

モナ・リザ

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: モナ・リザでは、どのように遺産の表示が説明されていますか？英語で出力して下さい。


subsection

モナ・リザ

On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2 million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.

Prompt: モナ・リザの遺産における表示の特徴を説明してください。英語で出力して下さい。


subsection

モナ・リザ

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: モナ・リザの文脈で、名声と遺産を説明してください。英語で出力して下さい。

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

モナ・リザ

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: モナ・リザの遺産に関する名声を説明してください。英語で出力して下さい。

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

モナ・リザ

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: モナ・リザでは、どのように遺産の名声が説明されていますか？英語で出力して下さい。

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

モナ・リザ

Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it "the most celebrated work of Leonardo in the Louvre", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in "300 paintings and 2,000 advertisements".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7 million people queued "in order to cast a glance at the Mona Lisa for 20 seconds or so."In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3 million people visited the Louvre. Former director Henri Loyrette reckoned that "80 percent of the people only want to see the Mona Lisa."

Prompt: モナ・リザの遺産における名声の特徴を説明してください。英語で出力して下さい。

Baedeker
Francis I of France
French Revolution
Henri Loyrette
Francis I of France
Louvre
Louvre


subsection

モナ・リザ

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: モナ・リザの文脈で、財産価値と遺産を説明してください。英語で出力して下さい。


subsection

モナ・リザ

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: モナ・リザの遺産に関する財産価値を説明してください。英語で出力して下さい。


subsection

モナ・リザ

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: モナ・リザでは、どのように遺産の財産価値が説明されていますか？英語で出力して下さい。


subsection

モナ・リザ

Before the 1962–1963 tour, the painting was assessed for insurance at $100 million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, "Collections held in museums that belong to public bodies are considered public property and cannot be otherwise."

Prompt: モナ・リザの遺産における財産価値の特徴を説明してください。英語で出力して下さい。


subsection

モナ・リザ

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: モナ・リザの文脈で、文化的描写と遺産を説明してください。英語で出力して下さい。

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

モナ・リザ

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: モナ・リザの遺産に関する文化的描写を説明してください。英語で出力して下さい。

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

モナ・リザ

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: モナ・リザでは、どのように遺産の文化的描写が説明されていますか？英語で出力して下さい。

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

モナ・リザ

Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song "Mona Lisa" recorded by Nat King Cole.  The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.

Prompt: モナ・リザの遺産における文化的描写の特徴を説明してください。英語で出力して下さい。

Glass Onion: A Knives Out Mystery
Nat King Cole
Panic! at the Disco


subsection

モナ・リザ

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: モナ・リザの文脈で、プラド美術館ラ・ジョコンダと遺産を説明してください。英語で出力して下さい。


subsection

モナ・リザ

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: モナ・リザの遺産に関するプラド美術館ラ・ジョコンダを説明してください。英語で出力して下さい。


subsection

モナ・リザ

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: モナ・リザでは、どのように遺産のプラド美術館ラ・ジョコンダが説明されていますか？英語で出力して下さい。


subsection

モナ・リザ

A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

Prompt: モナ・リザの遺産におけるプラド美術館ラ・ジョコンダの特徴を説明してください。英語で出力して下さい。


subsection

モナ・リザ

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: モナ・リザの文脈で、アイルワース・モナリザと遺産を説明してください。英語で出力して下さい。

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

モナ・リザ

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: モナ・リザの遺産に関するアイルワース・モナリザを説明してください。英語で出力して下さい。

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

モナ・リザ

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: モナ・リザでは、どのように遺産のアイルワース・モナリザが説明されていますか？英語で出力して下さい。

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

モナ・リザ

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

Prompt: モナ・リザの遺産におけるアイルワース・モナリザの特徴を説明してください。英語で出力して下さい。

Alessandro Vezzosi
Carlo Pedretti
Frank Zöllner
Hugh Blaker
Isleworth Mona Lisa
Leonardo da Vinci
Luke Syson
Martin Kemp


subsection

モナ・リザ

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: モナ・リザの文脈で、エルミタージュモナリザと遺産を説明してください。英語で出力して下さい。


subsection

モナ・リザ

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: モナ・リザの遺産に関するエルミタージュモナリザを説明してください。英語で出力して下さい。


subsection

モナ・リザ

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: モナ・リザでは、どのように遺産のエルミタージュモナリザが説明されていますか？英語で出力して下さい。


subsection

モナ・リザ

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

Prompt: モナ・リザの遺産におけるエルミタージュモナリザの特徴を説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Prompt: ヤンキードゥードゥルに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

American Revolution
American Revolutionary War
Connecticut
Roud Folk Song Index
Seven Years' War
Song


section

ヤンキードゥードゥル

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Prompt: ヤンキードゥードゥルの抽象を説明してください。英語で出力して下さい。

American Revolution
American Revolutionary War
Connecticut
Roud Folk Song Index
Seven Years' War
Song


section

ヤンキードゥードゥル

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Prompt: ヤンキードゥードゥルはどのように抽象を説明していますか？英語で出力して下さい。

American Revolution
American Revolutionary War
Connecticut
Roud Folk Song Index
Seven Years' War
Song


section

ヤンキードゥードゥル

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Prompt: ヤンキードゥードゥルに関して、どのように抽象が議論されていますか？英語で出力して下さい。

American Revolution
American Revolutionary War
Connecticut
Roud Folk Song Index
Seven Years' War
Song


section

ヤンキードゥードゥル

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. The earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, possibly dating back as far as 15th-century Holland. It contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Prompt: ヤンキードゥードゥルに焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. The earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, possibly dating back as far as 15th-century Holland. It contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Prompt: ヤンキードゥードゥルの起源を説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. The earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, possibly dating back as far as 15th-century Holland. It contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Prompt: ヤンキードゥードゥルはどのように起源を説明していますか？英語で出力して下さい。


section

ヤンキードゥードゥル

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. The earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, possibly dating back as far as 15th-century Holland. It contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Prompt: ヤンキードゥードゥルに関して、どのように起源が議論されていますか？英語で出力して下さい。


section

ヤンキードゥードゥル

type=Oil height_metric=61 width_metric=45 metric_unit=cm imperial_unit=in museum=United States Department of State italic title=no}}The full version of the song as it is known today:}} gunrge as a log of maple,Upon a deuced little cart,A load for father's cattle.[Chorus]And every time they shoot it off,It takes a horn of powder,And makes a noise like father's gun,Only a nation</ref> }} louder.[Chorus]I went as nigh to one myselfAs 'Siah's underpinning;And father went as nigh again,I thought the deuce was in him.[Chorus]Cousin Simon grew so bold,I thought he would have cocked it;It scared me so I shrinked it offAnd hung by father's pocket.[Chorus]And Cap'n Davis had a gun,He kind of clapt his hand on'tAnd stuck a crooked stabbing ironUpon the little end on't[Chorus]And there I see a pumpkin shellAs big as mother's basin,And every time they touched it offThey scampered like the nation.[Chorus]I see a little barrel too,The heads were made of leather;They knocked on it with little clubsAnd called the folks together.[Chorus]And there was Cap'n Washington,And gentle folks about him;They say he's grown so 'tarnal proudHe will not ride without 'em.[Chorus]He got him on his meeting clothes,Upon a slapping stallion;He sat the world along in rows,In hundreds and in millions.[Chorus]The flaming ribbons in his hat,They looked so tearing fine, ah,I wanted dreadfully to getTo give to my Jemima.[Chorus]I see another snarl of menA-digging graves, they told me,So 'tarnal long, so 'tarnal deep,They 'tended they should hold me.[Chorus]It scared me so, I hooked it off,Nor stopped, as I remember,Nor turned about till I got home,Locked up in mother's chamber.[Chorus]char=sign=title=source=}}

Prompt: ヤンキードゥードゥルに焦点を当てて、そのフルバージョンを説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

type=Oil height_metric=61 width_metric=45 metric_unit=cm imperial_unit=in museum=United States Department of State italic title=no}}The full version of the song as it is known today:}} gunrge as a log of maple,Upon a deuced little cart,A load for father's cattle.[Chorus]And every time they shoot it off,It takes a horn of powder,And makes a noise like father's gun,Only a nation</ref> }} louder.[Chorus]I went as nigh to one myselfAs 'Siah's underpinning;And father went as nigh again,I thought the deuce was in him.[Chorus]Cousin Simon grew so bold,I thought he would have cocked it;It scared me so I shrinked it offAnd hung by father's pocket.[Chorus]And Cap'n Davis had a gun,He kind of clapt his hand on'tAnd stuck a crooked stabbing ironUpon the little end on't[Chorus]And there I see a pumpkin shellAs big as mother's basin,And every time they touched it offThey scampered like the nation.[Chorus]I see a little barrel too,The heads were made of leather;They knocked on it with little clubsAnd called the folks together.[Chorus]And there was Cap'n Washington,And gentle folks about him;They say he's grown so 'tarnal proudHe will not ride without 'em.[Chorus]He got him on his meeting clothes,Upon a slapping stallion;He sat the world along in rows,In hundreds and in millions.[Chorus]The flaming ribbons in his hat,They looked so tearing fine, ah,I wanted dreadfully to getTo give to my Jemima.[Chorus]I see another snarl of menA-digging graves, they told me,So 'tarnal long, so 'tarnal deep,They 'tended they should hold me.[Chorus]It scared me so, I hooked it off,Nor stopped, as I remember,Nor turned about till I got home,Locked up in mother's chamber.[Chorus]char=sign=title=source=}}

Prompt: ヤンキードゥードゥルのフルバージョンを説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

type=Oil height_metric=61 width_metric=45 metric_unit=cm imperial_unit=in museum=United States Department of State italic title=no}}The full version of the song as it is known today:}} gunrge as a log of maple,Upon a deuced little cart,A load for father's cattle.[Chorus]And every time they shoot it off,It takes a horn of powder,And makes a noise like father's gun,Only a nation</ref> }} louder.[Chorus]I went as nigh to one myselfAs 'Siah's underpinning;And father went as nigh again,I thought the deuce was in him.[Chorus]Cousin Simon grew so bold,I thought he would have cocked it;It scared me so I shrinked it offAnd hung by father's pocket.[Chorus]And Cap'n Davis had a gun,He kind of clapt his hand on'tAnd stuck a crooked stabbing ironUpon the little end on't[Chorus]And there I see a pumpkin shellAs big as mother's basin,And every time they touched it offThey scampered like the nation.[Chorus]I see a little barrel too,The heads were made of leather;They knocked on it with little clubsAnd called the folks together.[Chorus]And there was Cap'n Washington,And gentle folks about him;They say he's grown so 'tarnal proudHe will not ride without 'em.[Chorus]He got him on his meeting clothes,Upon a slapping stallion;He sat the world along in rows,In hundreds and in millions.[Chorus]The flaming ribbons in his hat,They looked so tearing fine, ah,I wanted dreadfully to getTo give to my Jemima.[Chorus]I see another snarl of menA-digging graves, they told me,So 'tarnal long, so 'tarnal deep,They 'tended they should hold me.[Chorus]It scared me so, I hooked it off,Nor stopped, as I remember,Nor turned about till I got home,Locked up in mother's chamber.[Chorus]char=sign=title=source=}}

Prompt: ヤンキードゥードゥルはどのようにフルバージョンを説明していますか？英語で出力して下さい。


section

ヤンキードゥードゥル

type=Oil height_metric=61 width_metric=45 metric_unit=cm imperial_unit=in museum=United States Department of State italic title=no}}The full version of the song as it is known today:}} gunrge as a log of maple,Upon a deuced little cart,A load for father's cattle.[Chorus]And every time they shoot it off,It takes a horn of powder,And makes a noise like father's gun,Only a nation</ref> }} louder.[Chorus]I went as nigh to one myselfAs 'Siah's underpinning;And father went as nigh again,I thought the deuce was in him.[Chorus]Cousin Simon grew so bold,I thought he would have cocked it;It scared me so I shrinked it offAnd hung by father's pocket.[Chorus]And Cap'n Davis had a gun,He kind of clapt his hand on'tAnd stuck a crooked stabbing ironUpon the little end on't[Chorus]And there I see a pumpkin shellAs big as mother's basin,And every time they touched it offThey scampered like the nation.[Chorus]I see a little barrel too,The heads were made of leather;They knocked on it with little clubsAnd called the folks together.[Chorus]And there was Cap'n Washington,And gentle folks about him;They say he's grown so 'tarnal proudHe will not ride without 'em.[Chorus]He got him on his meeting clothes,Upon a slapping stallion;He sat the world along in rows,In hundreds and in millions.[Chorus]The flaming ribbons in his hat,They looked so tearing fine, ah,I wanted dreadfully to getTo give to my Jemima.[Chorus]I see another snarl of menA-digging graves, they told me,So 'tarnal long, so 'tarnal deep,They 'tended they should hold me.[Chorus]It scared me so, I hooked it off,Nor stopped, as I remember,Nor turned about till I got home,Locked up in mother's chamber.[Chorus]char=sign=title=source=}}

Prompt: ヤンキードゥードゥルに関して、どのようにフルバージョンが議論されていますか？英語で出力して下さい。


section

ヤンキードゥードゥル

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspires the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Prompt: ヤンキードゥードゥルに焦点を当てて、その調律を説明してください。英語で出力して下さい。

Barney & Friends
Barney & the Backyard Gang
English language
Jack and Jill
Lucy Locket
Roger Ramjet


section

ヤンキードゥードゥル

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspires the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Prompt: ヤンキードゥードゥルの調律を説明してください。英語で出力して下さい。

Barney & Friends
Barney & the Backyard Gang
English language
Jack and Jill
Lucy Locket
Roger Ramjet


section

ヤンキードゥードゥル

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspires the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Prompt: ヤンキードゥードゥルはどのように調律を説明していますか？英語で出力して下さい。

Barney & Friends
Barney & the Backyard Gang
English language
Jack and Jill
Lucy Locket
Roger Ramjet


section

ヤンキードゥードゥル

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspires the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Prompt: ヤンキードゥードゥルに関して、どのように調律が議論されていますか？英語で出力して下さい。

Barney & Friends
Barney & the Backyard Gang
English language
Jack and Jill
Lucy Locket
Roger Ramjet


section

ヤンキードゥードゥル

During the aftermath of the Siege of Yorktown, the surrendering British soldiers looked only at the French soldiers present, refusing to pay the American soldiers any heed. Marquis de fayette was outraged and ordered his band to play "Yankee Doodle" in response to taunt the British. Upon doing so, the British soldiers at last looked upon the Americans.The US state broadcaster Voice of America uses this tune as their interval signal.

Prompt: ヤンキードゥードゥルに焦点を当てて、その注目すべき演奏を説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

During the aftermath of the Siege of Yorktown, the surrendering British soldiers looked only at the French soldiers present, refusing to pay the American soldiers any heed. Marquis de fayette was outraged and ordered his band to play "Yankee Doodle" in response to taunt the British. Upon doing so, the British soldiers at last looked upon the Americans.The US state broadcaster Voice of America uses this tune as their interval signal.

Prompt: ヤンキードゥードゥルの注目すべき演奏を説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

During the aftermath of the Siege of Yorktown, the surrendering British soldiers looked only at the French soldiers present, refusing to pay the American soldiers any heed. Marquis de fayette was outraged and ordered his band to play "Yankee Doodle" in response to taunt the British. Upon doing so, the British soldiers at last looked upon the Americans.The US state broadcaster Voice of America uses this tune as their interval signal.

Prompt: ヤンキードゥードゥルはどのように注目すべき演奏を説明していますか？英語で出力して下さい。


section

ヤンキードゥードゥル

During the aftermath of the Siege of Yorktown, the surrendering British soldiers looked only at the French soldiers present, refusing to pay the American soldiers any heed. Marquis de fayette was outraged and ordered his band to play "Yankee Doodle" in response to taunt the British. Upon doing so, the British soldiers at last looked upon the Americans.The US state broadcaster Voice of America uses this tune as their interval signal.

Prompt: ヤンキードゥードゥルに関して、どのように注目すべき演奏が議論されていますか？英語で出力して下さい。


section

ヤンキードゥードゥル

Yankee Doodle Dandy, 1942 musical film"The Yankee Doodle Boy", 1904 song

Prompt: ヤンキードゥードゥルに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

Yankee Doodle Dandy, 1942 musical film"The Yankee Doodle Boy", 1904 song

Prompt: ヤンキードゥードゥルの参照を説明してください。英語で出力して下さい。


section

ヤンキードゥードゥル

Yankee Doodle Dandy, 1942 musical film"The Yankee Doodle Boy", 1904 song

Prompt: ヤンキードゥードゥルはどのように参照を説明していますか？英語で出力して下さい。


section

ヤンキードゥードゥル

Yankee Doodle Dandy, 1942 musical film"The Yankee Doodle Boy", 1904 song

Prompt: ヤンキードゥードゥルに関して、どのように参照が議論されていますか？英語で出力して下さい。


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルの文脈で、初期バージョンと起源を説明してください。英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルの起源に関する初期バージョンを説明してください。英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルでは、どのように起源の初期バージョンが説明されていますか？英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルの起源における初期バージョンの特徴を説明してください。英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルの文脈で、歴史的オーディオと起源を説明してください。英語で出力して下さい。


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルの起源に関する歴史的オーディオを説明してください。英語で出力して下さい。


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルでは、どのように起源の歴史的オーディオが説明されていますか？英語で出力して下さい。


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルの起源における歴史的オーディオの特徴を説明してください。英語で出力して下さい。


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルの文脈で、初期バージョンと参照を説明してください。英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルの参照に関する初期バージョンを説明してください。英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルでは、どのように参照の初期バージョンが説明されていますか？英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:The earliest known version of the lyrics comes from 1755 or 1758 :The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Prompt: ヤンキードゥードゥルの参照における初期バージョンの特徴を説明してください。英語で出力して下さい。

Battle of Bunker Hill
Battles of Lexington and Concord
Battles of Lexington and Concord
Billerica, Massachusetts
Blackbeard
Bodleian Library
Boston
British Army
Brown Bess
Connecticut
Fort Crailo
Francis Douce
French and Indian War
Gammer Gurton's Garland
Rensselaer, New York
The Disappointment


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルの文脈で、歴史的オーディオと参照を説明してください。英語で出力して下さい。


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルの参照に関する歴史的オーディオを説明してください。英語で出力して下さい。


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルでは、どのように参照の歴史的オーディオが説明されていますか？英語で出力して下さい。


subsection

ヤンキードゥードゥル

Prompt: ヤンキードゥードゥルの参照における歴史的オーディオの特徴を説明してください。英語で出力して下さい。


section

落選展

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: 落選展に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

落選展

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: 落選展の抽象を説明してください。英語で出力して下さい。


section

落選展

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: 落選展はどのように抽象を説明していますか？英語で出力して下さい。


section

落選展

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.

Prompt: 落選展に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

落選展

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: 落選展に焦点を当てて、その1863年のサロンの背景を説明してください。英語で出力して下さい。


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落選展

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: 落選展の1863年のサロンの背景を説明してください。英語で出力して下さい。


section

落選展

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: 落選展はどのように1863年のサロンの背景を説明していますか？英語で出力して下さい。


section

落選展

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

Prompt: 落選展に関して、どのように1863年のサロンの背景が議論されていますか？英語で出力して下さい。


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落選展

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: 落選展に焦点を当てて、その遺産を説明してください。英語で出力して下さい。


section

落選展

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: 落選展の遺産を説明してください。英語で出力して下さい。


section

落選展

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: 落選展はどのように遺産を説明していますか？英語で出力して下さい。


section

落選展

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public."

Prompt: 落選展に関して、どのように遺産が議論されていますか？英語で出力して下さい。


section

落選展

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: 落選展に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

落選展

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: 落選展の参照を説明してください。英語で出力して下さい。


section

落選展

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: 落選展はどのように参照を説明していますか？英語で出力して下さい。


section

落選展

Salon French art salons and academies Société des Artistes Indépendants Unjuried

Prompt: 落選展に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

落選展

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: 落選展に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

落選展

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: 落選展の情報源を説明してください。英語で出力して下さい。


section

落選展

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: 落選展はどのように情報源を説明していますか？英語で出力して下さい。


section

落選展

Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . "Juries, Protests, and Counter-Exhibitions Before 1850." The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Prompt: 落選展に関して、どのように情報源が議論されていますか？英語で出力して下さい。