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 Norwegian Bratvaag expedition, studying the glaciers and seas of the Svalbard archipelago from the Norwegian sealing vessel Bratvaag of Ålesund, found the remains of the Andrée expedition on 5 August 1930. Kvitøya was usually inaccessible to the sealing or whaling ships of the time, as it is typically surrounded by a wide belt of thick polar ice and often hidden by thick ice fogs. However, summer in 1930 had been particularly warm, and the surrounding sea was practically free of ice. As Kvitøya was known to be a prime hunting ground for walrus and the fogs over the island on that day were comparatively thin, some of the crew of the Bratvaag took this rare opportunity to land on what they called the "inaccessible island".Two of the sealers in search of water, Olav Salen and Karl Tusvick, discovered Andrée's boat near a small stream, frozen under a mound of snow and full of equipment, including a boathook engraved with the words "Andrée's Polar Expedition, 1896". Presented with this hook, the Bratvaag's captain, Peder Eliassen, assigned the crew to search the site together with the expedition members. Among other finds, they uncovered a journal and two skeletons, identified as Andrée's and Strindberg's remains by monograms found on their clothing.The Bratvaag left the island to continue its scheduled hunting and observations, with the intent of coming back later to see if the ice had melted further and uncovered more artifacts. Further discoveries were made by the M/K Isbjørn of Tromsø, a sealing sloop chartered by news reporters to waylay the Bratvaag. Unsuccessful in this, the reporters and the Isbjørn crew made instead for Kvitøya, landing on the island on 5 September in fine weather and finding even less ice than the Bratvaag had. After photographing the area, they searched for and found Frænkel's body, and additional artifacts, including a tin box containing Strindberg's photographic film, his logbook, and maps. The crews of both ships turned over their finds to a scientific commission of the Swedish and Norwegian governments in Tromsø on 2 and 16 September, respectively. The bodies of the three explorers were transported to Stockholm, arriving on 5 October.

A: Who  uncovered a journal and two skeletons?
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Q: Passage: I was stationed on the Isle of Grain – a ghastly place but the first line of defence against invasion – and in our battalion of the Suffolks we had a number of professional musicians. So we formed an orchestra and played in the equivalent of the NAAFI during our spare time. I was the principal cello and we were conducted by the bandmaster, one Lieutenant Bonham. The other boys knew that I was longing to conduct and one day when Bonham fell ill with 'flu, they thought "old Barby" – as I was known – should have a go. It was really rather romantic – I was scrubbing the floor in the Officers' Mess when they came and invited me to take over. We did the Light Cavalry overture and Coleridge-Taylor's Petite Suite de Concert but I can't say I recall the rest of the programme.
While in the army, Barbirolli adopted the anglicised form of his first name for the sake of simplicity: "The sergeant-major had great difficulty in reading my name on the roll-call. 'Who is this Guy Vanni?' he used to ask. So I chose John." After demobilisation he reverted to the original form of his name, using it until 1922.On re-entering civilian life, Barbirolli resumed his career as a cellist. His association with Edward Elgar's Cello Concerto began with its première in 1919, when he played as a rank and file member of the London Symphony Orchestra. He was the soloist at another performance of the concerto just over a year later. The Musical Times commented, "Signor Giovanni Barbirolli was not entirely equal to the demands of the solo music, but his playing unquestionably gave a considerable amount of pleasure." At the Three Choirs Festival of 1920 he took part in his first Dream of Gerontius, under Elgar's baton, in the LSO cellos. He joined two newly founded string quartets as cellist: the Kutcher Quartet, led by his former fellow student at Trinity, Samuel Kutcher, and the Music Society Quartet (later called the International Quartet) led by André Mangeot. He also made several early broadcasts with Mangeot's quartet.

A:
What is the last name of the person that had the nickname old Barby?
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