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.

Passage: "A symphony in subtle shades of white and green", the White Garden is considered the "most renowned" and most influential of all of Sissinghurst's garden rooms. Planned before the war, it was completed in the winter of 1949–1950. Using a palette of white, silver, grey, and green, it has been called "one of Vita and Harold's most beautiful and romantic visions". Sackville-West recorded her original inspiration in a letter to Nicolson dated 12 December 1939: "I have got what I hope will be a lovely scheme for it: all white flowers, with some clumps of very pale pink". The concept of single-colour gardens had enjoyed some popularity at the end of the 19th century, but few such gardens remained when Sissinghurst was designed. Influences for the White Garden include Hidcote and Phyllis Reiss's garden at Tintinhull, both of which Vita had seen. Gertrude Jekyll had discussed the concept, but argued for varying the white palette with the use of blue or yellow plants, advice followed by Reiss. But neither Hidcote nor Tintinhull equals the "full-scale symphony" of the White Garden at Sissinghurst. A more prosaic motivation for the colour scheme was to provide reflected illumination for Sackville-West and Nicolson as they made their way from their bedrooms at the South Cottage to the Priest's House for dinner.
The focal point of the garden was originally four almond trees, encased in a canopy of the white rose, Rosa mulliganii. By the 1960s, the weight of the roses had severely weakened the trees, and they were replaced with an iron arbour designed by Nigel Nicolson. Beneath the arbour is sited a Ming dynasty vase bought in Cairo. A lead statue of a Vestal Virgin, cast by Toma Rosandić from the wooden original which is in the Big Room, presides over the garden. Sackville-West intended that the statue should be enveloped by a weeping pear tree, Pyrus salicifolia 'Pendula', and the present tree was planted after her original was destroyed in the Great Storm of 1987. Lord considers the White Garden "the most ambitious and successful of its time, the most entrancing of its type".A possibly apocryphal story records a visit by the colour-loving gardener Christopher Lloyd, during which he is supposed to have scattered seeds of brightly coloured nasturtiums across the lawn. Troy Scott Smith, the current head gardener, is undertaking a major research project on the history of the White Garden with the intention of recreating the original planting scheme in its entirety. This project has seen the number of plants being propagated in the Sissinghurst nursery rise from 400 to over 530.
What is the full name of the man who's project has increased the plants at Sissinghurst from 400 to 530?

Passage: In an American suburb in Northern New Jersey, conservative, middle-aged Indian immigrant Gopal, a telephone-company engineer who has taken early retirement, is celebrating Diwali in November with his wife and grown daughter. His daughter suddenly tells him that she is leaving indefinitely to teach English in Mongolia with her German boyfriend. As Gopal recovers from this shock and tries to talk her out of it, largely on the grounds that she will be living in sin in his eyes, his wife Madhu announces that she is leaving him as well, and is taking up the spiritual life in an ashram in India.
Confused, mortified, bored, and directionless, newly single Gopal lies to his few Indian-American acquaintances about the situation, and refuses to answer his daughter's phone calls from Mongolia. He tries to cope with his emptiness by redecorating slightly, searching through the various corners of his small house, reading newspapers, and watching videos of Bollywood romance extravaganza films. Desperately lonely, he latches upon a copy of Cosmopolitan magazine that had belonged to his daughter, and takes a quiz gauging a man's suitability for a relationship – which reveals that he is a "Ditchable Dude".
In the midst of his distress and his Bollywood fantasies, Gopal's eccentric neighbor, the oddly attractive divorcée Mrs. Shaw – whom he had previously thought of as loose-moralled (because of her one-night stands) and slovenly – appears at his door asking to borrow one of his rakes. This sets off a whole new set of fantasies on his part. A few nights later Gopal sees her on her porch nursing a drink, and after a tentative conversation, asks her to have Thanksgiving dinner with him at home the next day. While cleaning and straightening for the date, Gopal finds several more of his daughter's Cosmopolitans, and reads several articles on "What women want" from a man – evidently it is for them to "listen, listen, listen".
Whose wife announces that they are leaving?

Passage: The panel is one of the earliest known northern European sacra conversazione (the Virgin and Child shown with a group of saints in a relatively informal grouping) paintings. The Virgin sits on an elevated throne, situated beneath a minutely detailed and extravagantly decorated brocade baldachin containing white rose patterns, symbolising her purity. Given the church setting, Mary occupies the area where the altarpiece would usually be. The steps leading to the throne are covered with an oriental carpet. Her idealised facial type (and that of St. George) is very similar to the Virgin in van Eyck's Washington  Annunciation.Although the Madonna's throne is in the mid-ground, her head is level with the standing figures in the foreground, who are closer in perspective. The apse in which she sits adds to the illusion of depth and is an expanded area for her throne. A similar approach can be seen in the later Dresden Triptych, but that work contains a better handling of spatial depth; Mary's throne is moved back, and the donors and saints are relegated to wing panels. The figures in Canon van der Paele are within a more confined space, are somewhat cramped, but far more monumental.The Child has curly blond hair and sits on a white cloth, animated and upright, at the side of the Virgin's lap. Like Mary, his body is shown frontally, his head in three quarters view. He reaches for what seems to be a parrot perched on her lap. At some point the Child's nudity was covered up; this overpaint was removed during a late 20th-century restoration. He is intended to represent both the host and Eucharist, common allusions in Early Netherlandish art and reflecting that the panel was intended for the celebration of mass.

What is the name of the person that sits on an apse?