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.
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Question: Passage: Van der Weyden's depiction of the Magdalen is based on Mary of Bethany, identified by the time of Pope Gregory I as the repentant prostitute of Luke 7:36–50. She then became associated with weeping and reading: Christ's mercy causes the eyes of the sinner to be contrite or tearful. Early Renaissance artists often conveyed this idea by portraying contemplative eyes, associating tears with words, and in turn weeping with reading. Examples can be seen in 16th-century works by Tintoretto and Titian which show the Magdalen reading, often with her eyes averted towards her book (and presumably away from a male gaze), or looking up to the heavens or, sometimes, glancing coyly towards the viewer. Writing in "The Crying Face", Mosche Barasch explains that in van der Weyden's time the gesture of averting or concealing the eyes became a "pictorial formula for crying".
By the medieval period, reading became synonymous with devotion, which involved withdrawal from public view. Van der Weyden's placement of the Magdalen in an interior scene reflects the increasing literacy of domestic or laywomen in the mid-15th century. The increased production of devotional texts showed that noble women of the period routinely read texts such as a psalter or book of hours in the privacy of their homes. Whether the Magdalen herself was a reader, by the 17th century she was firmly established as such in the visual arts. Because the Magdalen was present at Christ's death and subsequent resurrection, she was seen as the bearer of news—a witness—and hence directly associated with the text.The Magdalen imagery further draws on the idea of Christ as the word, represented by a book, with the Magdalen as the reader learning of her own life story in a moment of reflection and repentance.  Her devotion to reading reflects her traditional status as the piously repentant harlot, as well as a prophetess or seer.  According to legend, the Magdalen lived the last 30 years of her life as a hermit in Sainte-Baume and is often shown with a book, reading or writing, symbolizing her later years of contemplation and repentance. By the 13th century she acquired the imagery of a once-shamed woman who, clothed in long hair, now hid her nakedness in exile and "borne by angels, floats between heaven and earth".The Magdalen's ointment jar was common in the lexicon of art in van der Weyden's period. Mary of Bethany may have used a jar when she repented of her sins at Christ's feet in her home; by the Renaissance, the image of the Magdalen was of the woman who bathed Christ's feet with her tears and dried them with her hair. She signified the "sacrament of anointing (Chrism and Unction)" by pouring precious spikenard on Christ's feet at his tomb.

Answer: What is the first name of the Magdalen who became associated with weeping and reading?


Question: Passage: Structure 12 lies to the east of Structure 11. It has also been excavated and, like Structure 11, it is covered with rounded boulders held together with clay. It lies to the east of the plaza in the southern area of the Central Group. The structure is a three-tiered platform with stairways on the east and west sides. The visible remains date to the Early Classic but they overlie Late Preclassic construction. A row of sculptures lines the west side of the structure, including six monuments, a stela and an altar. Further monuments line the east side, one of which may be the head of a crocodilian, the others are plain. Sculpture 69 is located on the south side of the structure.Structure 17 is located in the South Group, on the Santa Margarita plantation. It contained a Late Preclassic cache of 13 prismatic obsidian blades.Structure 32 is located near the western edge of the West Group.Structure 34 is in the West Group, at the eastern corner of Terrace 6.Structures 38, 39, 42 and 43 are joined by low platforms on the east side of a plaza on Terrace 7, aligned north–south. Structures 40, 47 and 48 are on south, west and north sides of this plaza. Structures 49, 50, 51, 52 and 53 form a small group on the west side of the terrace, bordered on the north by Terrace 9. Structure 42 is the tallest structure in the North Group, measuring about 11.5 metres (38 ft) high. All of these structures are mounds.Structure 46 is a mound at the edge of Terrace 8 in the North Group and dates from the Terminal Classic through to the Postclassic. The west side of the structure has been cut by a modern road.Structure 54 is built upon Terrace 8, to the north of Structure 46, in the North Group. It is surrounded by an open area without mounds that was probably a mixed residential and agricultural area. It dates from the Terminal Classic through to the Postclassic.Structure 57 is a large mound at the southern limit of the Central Group with an excellent view across the coastal plain. The structure was built in the Late Preclassic and underwent a second phase of construction in the Late Classic. It may have served as a look-out point.

Answer: Which structure dates from the Terminal Classic through to the Postclassic?


Question: Passage: The sixth William was briefly succeeded by his son Peter, who was followed by his son William. William the seventh's son was the eighth William Davenport, and an inventory of his property made shortly after his death in 1706 shows the gallery and gatehouse of Bramall were still intact. His two eldest sons each inherited the estate but both died young and heirless, so the estate passed to their younger brother Warren Davenport. Warren became part of the clergy, and during his tenure at Bramall set up a school close to the entrance of the estate. The tenth and final William Davenport succeeded his father, Warren at the age of four. Many changes were made to the house during his tenure, including the dismantling of the gatehouse side of the courtyard and the long gallery, the latter of which may have been done because of their being considered unsafe. William had no sons, so the estate passed to Salusbury Pryce Humphreys, the husband of his illegitimate daughter Maria.Humphreys, a Naval captain, had married Maria Davenport in 1810, and lived at Bramall Hall long before he succeeded his father-in-law. He became widely respected in the Stockport area, but following his succession to the estate in 1829, there were disputes from other members of the Davenport family who claimed a right to the property. Edmund Davenport, who claimed ancestry from Thomas Davenport, the third son of Peter, unsuccessfully contested the succession in two different courts; Edmund was eventually imprisoned for failing to pay the legal fees. Humphreys was knighted in 1834 for his services, and in 1838 changed his name to Davenport, in an effort to continue the Davenport line. He moved with Maria to Cheltenham in 1841, most likely because living at Bramall had become expensive or because of health concerns. Salusbury died there four years later and was buried in Leckhampton.Over the next decade the house was likely to have been let, as Maria Davenport preferred to live elsewhere. Her eldest son, William Davenport Davenport married firstly to Camilla Maria Gatt, then secondly to Diana Handley, whom he lived with at Bramall for four years before the estate was passed to him. Maria moved to London where she lived with her youngest son, Charles, and died in 1866. During William's tenure Bramall was regularly visited by members of the public, and the Chapel continued to be used for regular services of worship. However, following his death in 1869, the property was let to Wakefield Christy of Christys & Co Hatting, therefore ending direct involvement from the Davenport family. This occurred because William's son, John, was too young to inherit the estate. John's whereabouts during Christy's seven-year tenure is unknown, though he was shown as a visitor at Bramall in 1871, and in 1874 became the first chairman of the Bramhall School Board. In 1876, shortly before he returned to the house, he was listed as living on Ack Lane in Bramhall.

Answer:
What is the full name of the person that set up a school close to the entrance of Bramall?