instruction:
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.
question:
Passage: A brief article mentioning the discovery appeared in the Maidstone Journal on 4 July 1822; the information in it was then largely repeated in a volume of the Gentleman's Magazine that year. The latter also features some brief discussion as to who the deceased individuals in the chamber had been, speculating that it was "some chief slain in the battle fought here between Vortimer, King of Britain, and the Saxons". A second description of the site appeared in Gentleman's Magazine in 1834, written by S. C. Lampreys.About a year after the discovery, Smythe wrote an account in which he included both a sketch and plan of the chamber. Smythe's original report was not published at the time, but deposited in the archive of Maidstone Museum. In this unpublished document, he referred to the monument as a "British Tomb" or a "Druidical Monument". The document was only published in 1948, in an article written for the Archaeologia Cantiana journal by the archaeologist John H. Evans. Evans noted that "meagre and incomplete as it is", "we must be grateful" for this document "when we remember the unrecorded destruction wrought throughout the centuries upon this interesting and isolated megalithic necropolis".Alongside Smythe's report, another brief account was also produced and placed in the museum, likely written by Charles and again published in Evans' 1948 article. Ashbee later related that both of the reports written in the 1820s were "brief but valuable" and "in many ways in advance of their age". He noted that the destruction of prehistoric monuments during this "age of agricultural development" would have been quite commonplace and thus these antiquarians' records — written "almost half a century before the emergence of the outlines of present-day prehistory" as a field of scholarly study — were particularly important.In the 1920s, the archaeologist O. G. S. Crawford accessed the Maidstone Museum archives to determine the probable location of Smythe's Megalith. He then included it in his 1924 Ordnance Survey guide to archaeological sites in southeastern England. In 1955, several substantial stones were also found in the area. In 2000, Ashbee stated that some of the kerbstones had "recently come to light, buried in the ditches" of the monument.
answer:
What is the last name of the person who noted "when we remember the unrecorded destruction wrought throughout the centuries upon this interesting and isolated megalithic necropolis?


question:
Passage: In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.
answer:
What is the first name of the person who intended to exhibit her works in Europe?


question:
Passage: The postwar period also saw the beginning of Bush's 20-year involvement with grand opera, a genre in which, although he achieved little commercial recognition, he was retrospectively hailed by critics as a master of British opera second only to Britten. His first venture, Wat Tyler, was  written in a form which Bush thought acceptable to the general British public; it was not his choice, he wrote, that the opera and its successors all found their initial audiences in East Germany.  When eventually staged in Britain in 1974 the opera, although well received at Sadler's Wells, seemed somewhat old-fashioned; Philip Hope-Wallace in The Guardian thought the ending degenerated into "a choral union cantata", and found the music pleasant but not especially memorable. Bush's three other major operas were all characterised by their use of "local" music: Northumbrian folk-song in the case of Men of Blackmoor, Guyanese songs and dances in The Sugar Reapers, and American folk music in Joe Hill –  the last-named used in a manner reminiscent of Kurt Weill and the German opera with which Bush had become familiar in the  early 1930s.The extent to which Bush's music  changed substantially after the war was addressed by Meirion Bowen, reviewing a Bush concert in the 1980s. Bowen noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland and of Bush's European contacts, while in the later pieces the idiom was "often overtly folklike and Vaughan Williams-ish".  In general Bush's late works continued to show all the hallmarks of his postwar oeuvre: vigour, clarity of tone and  masterful use of counterpoint. The Lascaux symphony, written when he was 83, is the composer's final major orchestral statement, and addresses deep philosophical issues relating to the origins and destiny of mankind.
answer:

What is the last name of the person whose first venture was written in a form which Bush thought acceptable to the general British public?