In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Q: Passage: By the 15th century the reach and influence of the Burgundian princes meant that the Low Countries' merchant and banker classes were in the ascendancy. The early to mid-century saw great rises in international trade and domestic wealth, leading to an enormous increase in the demand for art. Artists from the area attracted patronage from the Baltic coast, the north German and Polish regions, the Iberian Peninsula, Italy and the powerful families of England and Scotland. At first, masters had acted as their own dealers, attending fairs where they could also buy frames, panels and pigments. The mid-century saw the development of art dealership as a profession; the activity became purely commercially driven, dominated by the mercantile class.
Burgundian rule created a large class of courtiers and functionaries. Some gained enormous power and commissioned paintings to display their wealth and influence. Civic leaders also commissioned works from major artists, such as Bouts' Justice for Emperor Otto III, van der Weyden's The Justice of Trajan and Herkinbald and David's Justice of Cambyses. Civic commissions were less common and were not as lucrative, but they brought notice to and increased a painter's reputation, as with Memling, whose St John Altarpiece for Bruges' Sint-Janshospitaal brought him additional civic commissions.Wealthy foreign patronage and the development of international trade afforded the established masters the chance to build up workshops with assistants.  Although first-rank painters such as Petrus Christus and Hans Memling found patrons among the local nobility, they catered specifically to the large foreign population in Bruges. Painters not only exported goods but also themselves; foreign princes and nobility, striving to emulate the opulence of the Burgundian court, hired painters away from Bruges.

A: What were the name of three paintings civic leaders commissioned from major artists?
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Q: Passage: The Chinnerys were wealthy and influential. William Chinnery's father, also named William, owned trading ships and named one Gilwell in 1800. William and Margaret Chinnery initially resided in London, and after three years of marriage and inheriting Gilwell in 1792, they moved to Gilwell in 1793. They soon shocked the populace by renaming Osborne Hall to "Gilwell Hall". William Chinnery expanded Gilwell's land holdings through significant purchases over 15 years and, with his wife, transformed it into a country estate with gardens, paths, and statues. Parts of the garden, paths, and dwelling modifications exist into the 21st century. William Chinnery was exposed as the embezzler of a small fortune from the British Treasury where he worked and was dismissed from all his posts on 12 March 1812. Margaret Chinnery was forced to sign over Gilwell Estate to the Exchequer on 2 July 1812.The Chinnery family was prominent enough that members of the English nobility visited often during the 1790s and early 19th century. King George III visited on occasion, and the Prince Regent, who later became George IV, was a regular visitor. George III's seventh son, Prince Adolphus, became a family friend, lived at Gilwell for a while, and tutored their eldest son George.Gilpin Gorst bought the estate in 1815 at public auction, and his son sold it to Thomas Usborne in 1824. When London Bridge was replaced in 1826, Usborne bought pieces of the stone balustrades, which date to 1209, and erected them behind the White House around the Buffalo Lawn. The estate changed ownership more times, but these families did not maintain the property and it fell into disrepair by 1900. Reverend Cranshaw, a local resident, bought the estate in 1911 and was the last owner prior to the Boy Scout Association, as it was then known.

A: What is the first names of the people who were prominent enough that members of the English nobility visited often during the 1790s?
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Q: Passage: With the piece set to open on 26 December, Gilbert first read the libretto to the cast on 14 December, but Toole, who was playing the central role of Thespis, did not return from a tour of the British provinces until 18 December. He then appeared in nine performances at the Gaiety in the six days immediately after his return, and other actors had similar commitments. In addition, Hollingshead had committed the company to perform a pantomime at The Crystal Palace on 21 December, which included many of the performers who would be in Thespis. Lastly, Thespis was to play as the afterpiece to an H. J. Byron comedy, Dearer than Life, which shared many of its actors, including Toole and Fred Sullivan, and had to be rehearsed at the same time.Despite the short time available for rehearsals, Sullivan recalled that Gilbert insisted that the chorus play a major role, as it would do in their later Savoy operas:
Until Gilbert took the matter in hand choruses were dummy concerns, and were practically nothing more than a part of the stage setting. It was in 'Thespis' that Gilbert began to carry out his expressed determination to get the chorus to play its proper part in the performance. At this moment it seems difficult to realise that the idea of the chorus being anything more than a sort of stage audience was, at that time, a tremendous novelty. In consequence of this innovation, some of the incidents at the rehearsal of 'Thespis' were rather amusing. I remember that, on one occasion, one of the principals became quite indignant and said, 'Really, Mr. Gilbert, why should I stand here? I am not a chorus-girl!' to which Gilbert replied curtly, 'No, madam, your voice is not strong enough, or no doubt you would be.'.

A:
What is the first name of the person who recalled that Gilbert insisted that the chorus play a major role?
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