In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[Q]: Passage: Most historians describe the contacts between the Mongol Empire and the Western Europeans as a series of attempts, missed opportunities, and failed negotiations. Christopher Atwood, in the 2004 Encyclopedia of Mongolia and the Mongol Empire, summed up the relations between Western Europe and the Mongols: "Despite numerous envoys and the obvious logic of an alliance against mutual enemies, the papacy and the Crusaders never achieved the often-proposed alliance against Islam."A few other historians argue there was an actual alliance, but do not agree on the details: Jean Richard wrote that an alliance began around 1263. Reuven Amitai stated that the closest thing to actual Mongol-Frankish military coordination was when Prince Edward of England attempted to coordinate activities with Abaga in 1271. Amitai also mentioned the other attempts towards cooperation, but said, "In none of these episodes, however, can we speak of Mongols and troops from the Frankish West being on the Syrian mainland at the same time." Timothy May described the alliance as having its peak at the Council of Lyon in 1274, but that it began to unravel in 1275 with the death of Bohemond, and May too admitted that the forces never engaged in joint operations. Alain Demurger, in his own book The Last Templar, said that an alliance was not sealed until 1300.There also continues to be debate about whether or not an alliance would have been a wise idea, and whether the Crusaders at that point in history were even relevant to the Persian-Mongol conflict. The 20th-century historian Glenn Burger said, "The refusal of the Latin Christian states in the area to follow Hethum's example and adapt to changing conditions by allying themselves with the new Mongol empire must stand as one of the saddest of the many failures of Outremer." This was similar to the view of Steven Runciman, who argued, "Had the Mongol alliance been achieved and honestly implemented by the West, the existence of Outremer would almost certainly have been prolonged. The Mameluks would have been crippled if not destroyed; and the Ilkhanate of Persia would have survived as a power friendly to the Christians and the West". However, David Nicolle, describing the Mongols as "potential allies", said that early historians were writing from the benefit of hindsight, and that overall the major players were the Mamluks and the Mongols, with Christians just "pawns in a greater game.". 
Question: Who did Jean Richard claim had an alliance around 1263?
[A]: Mongol Empire.


[Q]: Passage: Caspar David Friedrich was born on 5 September 1774, in Greifswald, Swedish Pomerania, on the Baltic coast of Germany. The sixth of ten children, he was brought up in the strict Lutheran creed of his father Adolf Gottlieb Friedrich, a candle-maker and soap boiler. Records of the family's financial circumstances are contradictory; while some sources indicate the children were privately tutored, others record that they were raised in relative poverty. Caspar David was familiar with death from an early age. His mother, Sophie Dorothea Bechly, died in 1781 when he was just seven. A year later, his sister Elisabeth died, while a second sister, Maria, succumbed to typhus in 1791. Arguably the greatest tragedy of his childhood happened in 1787 when his brother Johann Christoffer died: at the age of thirteen, Caspar David witnessed his younger brother fall through the ice of a frozen lake, and drown. Some accounts suggest that Johann Christoffer perished while trying to rescue Caspar David, who was also in danger on the ice.
Friedrich began his formal study of art in 1790 as a private student of artist Johann Gottfried Quistorp at the University of Greifswald in his home city, at which the art department is now named Caspar-David-Friedrich-Institut in his honour. Quistorp took his students on outdoor drawing excursions; as a result, Friedrich was encouraged to sketch from life at an early age. Through Quistorp, Friedrich met and was subsequently influenced by the theologian Ludwig Gotthard Kosegarten, who taught that nature was a revelation of God. Quistorp introduced Friedrich to the work of the German 17th-century artist Adam Elsheimer, whose works often included religious subjects dominated by landscape, and nocturnal subjects. During this period he also studied literature and aesthetics with Swedish professor Thomas Thorild. Four years later Friedrich entered the prestigious Academy of Copenhagen, where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life. Living in Copenhagen afforded the young painter access to the Royal Picture Gallery's collection of 17th-century Dutch landscape painting. At the Academy he studied under teachers such as Christian August Lorentzen and the landscape painter Jens Juel. These artists were inspired by the Sturm und Drang movement and represented a midpoint between the dramatic intensity and expressive manner of the budding Romantic aesthetic and the waning neo-classical ideal. Mood was paramount, and influence was drawn from such sources as the Icelandic legend of Edda, the poems of Ossian and Norse mythology. 
Question: What is the full name of the man who taught taught that nature was a revelation of God to the person who lost his mother when he was seven?
[A]: Ludwig Gotthard Kosegarten.


[Q]: Passage: Bach's early cantatas are Choralkonzerte (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. Wolff points out the relation of Bach's early cantatas to works by Dieterich Buxtehude, with whom Bach had studied in Lübeck. Christ lag in Todes Banden shows similarities to a composition of Johann Pachelbel based on the same Easter chorale. Although there is no evidence that Bach and Pachelbel met, Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt. Another of Pachelbel's works appears to be referenced in the early Bach cantata, Nach dir, Herr, verlanget mich, BWV 150, and there has been recent speculation that Bach wanted to pay tribute to Pachelbel after his death in 1706.The texts for the early cantatas were drawn mostly from biblical passages and hymns. Features characteristic of his later cantatas, such as recitatives and arias on contemporary poetry, were not yet present, although Bach may have heard them in oratorios by Buxtehude, or even earlier. Instead, these early cantatas include 17th-century elements such as motets and chorale concertos. They often begin with an instrumental sinfonia or sonata (sonatina). The following table lists the seven extant works composed by Bach until 1708, when he moved on to the Weimar court.
Bach uses the limited types of instruments at his disposal for unusual combinations, such as two recorders and two viole da gamba in the funeral cantata Gottes Zeit ist die allerbeste Zeit, also known as Actus Tragicus. He uses instruments of the continuo group as independent parts, such as a cello in Nach dir, Herr, verlanget mich and a bassoon in Der Herr denket an uns. The cantata for the inauguration of a town council is richly scored for trumpets, woodwinds and strings. Wolff notes:
The overall degree of mastery by which these early pieces compare favourably with the best church compositions from the first decade of the eighteenth century ... proves that the young Bach did not confine himself to playing organ and clavier, but, animated by his Buxtehude visit, devoted considerable time and effort to vocal composition. The very few such early works that exist, each a masterpiece in its own right, must constitute a remnant only ... of a larger body of similar compositions.
The Bach scholar Richard D. P. Jones notes in The Creative Development of Johann Sebastian Bach:
"His remarkable flair for text illustration is evident even in the early cantatas, particularly the two finest of them, the Actus tragicus, BWV 106, and Christ lag in Todes Banden, BWV 4. We already sense a powerful mind behind the notes in the motivic unity of the early cantatas, in the use of reprise to bind their mosaic forms together ...". 
Question: What is the full name of the scholar that noted that the man who's early cantats are Choralkonzerte "...remarkable flair for text illustration is evident even in the early cantatas"?
[A]:
Richard D. P. Jones.