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.

Example Input: Passage: By the time Hope was exhibited, Watts had already committed himself to donate his most significant works to the nation, and although he received multiple offers for the painting he thought it inappropriate not to include Hope in this donation, in light of the fact that it was already being considered one of his most important pictures. In mid-1886 Watts and his assistant Cecil Schott painted a duplicate of the piece, with the intention that this duplicate be donated to the nation allowing him to sell the original. Although the composition of this second painting is identical, it is radically different in feel. The central figure is smaller in relation to the globe, and the colours darker and less sumptuous, giving it an intentionally gloomier feel than the original.In late 1886 this second version was one of nine paintings donated to the South Kensington Museum (now the Victoria and Albert Museum) in the first instalment of Watts's gift to the nation. Meanwhile, the original was briefly displayed in Nottingham before being sold to the steam tractor entrepreneur Joseph Ruston in 1887. Its whereabouts was long unknown until in 1986 it was auctioned at Sotheby's for £869,000 (about £2,500,000 in 2019 terms), 100 years after its first exhibition.On their donation to the South Kensington Museum, the nine works donated by Watts were hung on the staircase leading to the library, but Hope proved a popular loan to other institutions as a symbol of current British art. At the Royal Jubilee Exhibition of 1887 in Manchester, an entire wall was dedicated to the works of Watts. Hope, only recently completed but already the most famous of Watts's works, was placed at the centre of this display. It was then exhibited at the 1888 Melbourne Centennial Exhibition and the 1889 Exposition Universelle in Paris, before being moved to Munich for display at the Glaspalast. In 1897 it was one of the 17 Watts works transferred to the newly created National Gallery of British Art (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works. The Tate Gallery considered Hope one of the highlights of their collection and did not continue the South Kensington Museum's practice of lending the piece to overseas exhibitions.
Example Output: What is the last name of the person who wanted to donate a duplicate to the nation so he could sell the original?

Example Input: Passage: Sydney Morning Herald commentator Bernard Zuel described Dream Days at the Hotel Existence as Powderfinger's first dull album, noting that on numerous songs "It promises to become exciting but never quite gets there." He complained that most of the songs were uneventful, or uninspiring, and that they do not "lift you as a listener." PerthNow's Jay Hanna disagreed, claiming the album was "rippling with emotions". He said the album contained some "incredible moments", praising "Head Up in the Clouds", and calling "Nobody Sees" "Powderfinger at their devastating best", while giving the album four stars.Cameron Adams of Herald Sun HiT stated that the album contained no new directions for the band, and was highly consistent. He noted that the album contained less "rough edges and attitude" than predecessor Vulture Street, and likening the album more to Odyssey Number Five. Sputnikmusic's James Bishop agreed, claiming the band should be concerned by the "lack of experimentation or ambition" on the album. He again stated that the album was consistent, noting that "there actually isn't a bad song present". The review, which gave the album three and a half stars, commented that it seemed the band were trying to move towards the bluegrass genre, and "edging their way into the adult-contemporary section" of a music store, something they had not shown on their previous works.AllMusic's Clayton Bolger drew comparisons to Internationalist in his review, which gave the album 3 and a half stars. He said the album contained "all the trademarks of classic Powderfinger", praising Fanning's vocals, Middleton and Haug's "twin-guitar attack", Collins' basslines and Coghill's "powerhouse drum work". While praising "I Don't Remember" as an excellent anthem, and "Surviving" for containing "a sonic blast of rock", he was critical of "Lost and Running", which he said felt "tired and sluggish", while "Ballad of a Dead Man" was described as "tedious".
Example Output: What is publication does the critic who claimed the album had "all the trademarks of classic Powderfinger" write for?

Example Input: Passage: A number of artists traditionally associated with the movement had origins that were neither Dutch nor Flemish in the modern sense. Van der Weyden was born Roger de la Pasture in Tournai. The German Hans Memling and the Estonian Michael Sittow both worked in the Netherlands in a fully Netherlandish style. Simon Marmion is often regarded as an Early Netherlandish painter because he came from Amiens, an area intermittently ruled by the Burgundian court between 1435 and 1471. The Burgundian duchy was at its peak influence, and the innovations made by the Netherlandish painters were soon recognised across the continent. By the time of van Eyck's death, his paintings were sought by wealthy patrons across Europe. Copies of his works were widely circulated, a fact that greatly contributed to the spread of the Netherlandish style to central and southern Europe. Central European art was then under the dual influence of innovations from Italy and from the north. Often the exchange of ideas between the Low Countries and Italy led to patronage from nobility such as Matthias Corvinus, King of Hungary, who commissioned manuscripts from both traditions.The first generation were literate, well educated and mostly from middle-class backgrounds. Van Eyck and van der Weyden were both highly placed in the Burgundian court, with van Eyck in particular assuming roles for which an ability to read Latin was necessary; inscriptions found on his panels indicate that he had a good knowledge of both Latin and Greek. A number of artists were financially successful and much sought-after in the Low Countries and by patrons across Europe. Many artists, including David and Bouts, could afford to donate large works to the churches, monasteries and convents of their choosing. Van Eyck was a valet de chambre at the Burgundian court and had easy access to Philip the Good. Van der Weyden was a prudent investor in stocks and property; Bouts was commercially minded and married the heiress Catherine "Mettengelde" ("with the money"). Vrancke van der Stockt invested in land.
Example Output:
Who had a good knowledge of both Latin and Greek?