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: On 21 January 1818, Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyer from Dresden. The couple had three children, with their first, Emma, arriving in 1820.  Physiologist and painter Carl Gustav Carus notes in his biographical essays that marriage did not impact significantly on either Friedrich's life or personality, yet his canvasses from this period, including Chalk Cliffs on Rügen—painted after his honeymoon—display a new sense of levity, while his palette is brighter and less austere. Human figures appear with increasing frequency in the paintings of this period, which Siegel interprets as a reflection that "the importance of human life, particularly his family, now occupies his thoughts more and more, and his friends, his wife, and his townspeople appear as frequent subjects in his art."Around this time, he found support from two sources in Russia. In 1820, the Grand Duke Nikolai Pavlovich, at the behest of his wife Alexandra Feodorovna, visited Friedrich's studio and returned to Saint Petersburg with a number of his paintings, an exchange that began a patronage that continued for many years. Not long thereafter, the poet Vasily Zhukovsky, tutor to Alexander II, met Friedrich in 1821 and found in him a kindred spirit. For decades Zhukovsky helped Friedrich both by purchasing his work himself and by recommending his art to the royal family; his assistance toward the end of Friedrich's career proved invaluable to the ailing and impoverished artist. Zhukovsky remarked that his friend's paintings "please us by their precision, each of them awakening a memory in our mind."Friedrich was acquainted with Philipp Otto Runge, another leading German painter of the Romantic period. He was also a friend of Georg Friedrich Kersting, and painted him at work in his unadorned studio, and of the Norwegian painter Johan Christian Clausen Dahl (1788–1857). Dahl was close to Friedrich during the artist's final years, and he expressed dismay that to the art-buying public, Friedrich's pictures were only "curiosities". While the poet Zhukovsky appreciated Friedrich's psychological themes, Dahl praised the descriptive quality of Friedrich's landscapes, commenting that "artists and connoisseurs saw in Friedrich's art only a kind of mystic, because they themselves were only looking out for the mystic... They did not see Friedrich's faithful and conscientious study of nature in everything he represented".During this period Friedrich frequently sketched memorial monuments and sculptures for mausoleums, reflecting his obsession with death and the afterlife; he even created designs for some of the funerary art in Dresden's cemeteries. Some of these works were lost in the fire that destroyed Munich's Glass Palace (1931) and later in the 1945 bombing of Dresden.
answer:
What is the full name of the person whose assistance toward the end of Friedrich's career proved invaluable to the ailing and impoverished artist?


question:
Passage: As Harvey's interests shifted to the Pyramid, Monte Ne's resort days effectively ended and the number of visitors slowly dwindled. Activities and events at Monte Ne continued, supported by locals who still visited in large numbers. Harvey sold the Hotel Monte Ne. The hotel went through several name changes and owners, becoming the White Hotel circa 1912, the Randola Inn in 1918, the Hotel Frances in 1925, and in 1930 the Sleepy Valley Hotel. Monte Ne's larger hotels continued to be active after they, along with the dance pavilion and Elixir Spring, were foreclosed and sold at public auction. From 1927 to 1932, Missouri Row and Oklahoma Row (often called the Club House Hotels at this point) were home to the Ozark Industrial College and School of Theology, a nonsectarian school run by Dan W. Evans. The hotels housed pupils—Missouri Row for boys, Oklahoma Row for girls—and Oklahoma Row also provided classroom and dining spaces. Evans and his family lived in the tower. The dance pavilion was enclosed and served as the school chapel. In May 1932, following a mortgage foreclosure against the school, school officials were evicted and the property was sold.After he announced the building of the Pyramid, at age 69, Harvey began suffering a series of serious health problems, but continued to work tirelessly. In 1926, blood poisoning in his foot put him in a coma that lasted several days resulting in surgery, and three months of recuperation. In 1929 he and Anna were finally divorced. Three days later Harvey married his long-time personal secretary May Leake. In 1930, he came down with double pneumonia. He was also going blind and needed younger people to read his letters and the newspaper to him.
answer:
What was the full original name of the hotel that became the Sleepy Valley Hotel in 1930?


question:
Passage: Chinese imperial tombs are typically  approached by a "spirit road", sometimes several kilometres long, lined by statues of guardian figures, based on both humans and animals. A  tablet extolling the virtues of the deceased, mounted on a stone representation of Bixi in the form of a tortoise, is often the centerpiece of the ensemble. In Han tombs the guardian figures are mainly of "lions" and "chimeras"; in later periods they are much more varied.  A looted tomb with fine paintings is the Empress Dowager Wenming tomb of the 5th century CE, and the many tombs of the 7th-century Tang dynasty Qianling Mausoleum group are an early example of a generally well-preserved ensemble.The complex of Goguryeo Tombs, from a kingdom of the 5th to 7th centuries which included modern Korea, are especially rich in paintings.  Only one of the Imperial Tombs of the Ming and Qing Dynasties has been excavated, in 1956, with such disastrous results for the conservation of the thousands of objects found, that subsequently the policy is to leave them undisturbed.The Lei Cheng Uk Han Tomb Museum in Hong Kong displays a far humbler middle-class Han dynasty tomb, and the mid-2nd-century Wu Family tombs of Jiaxiang County, Shandong are the most important group of commoner tombs for funerary stones.  The walls of both the offering and burial chambers of tombs of commoners from the Han period may be decorated with stone slabs carved or engraved in very low relief with crowded and varied scenes, which are now the main indication of the style of the lost palace frescoes of the period.  A cheaper option was to use large clay tiles which were carved or impressed before firing.  After the introduction of Buddhism, carved "funerary couches" featured similar scenes, now mostly religious. During the Han Dynasty, miniature ceramic models of buildings were often made to accompany the deceased in the graves; to them is owed much of what is known of ancient Chinese architecture. Later, during the Six Dynasties, sculptural miniatures depicting buildings, monuments, people and animals adorned the tops of the hunping funerary vessels.  The outsides of tombs often featured monumental brick or stone-carved pillar-gates (que 闕); an example from 121 CE appears to be the earliest surviving Chinese architectural structure standing above ground.  Tombs of the Tang Dynasty (618–907) are often rich in glazed pottery figurines of horses, servants and other subjects, whose forceful and free style is greatly admired today. The tomb art reached its peak in the Song and Jin periods; most spectacular tombs were built by rich commoners.Early burial customs show a strong belief in an afterlife and a spirit path to it that needed facilitating.  Funerals and memorials were also an opportunity to reaffirm such important cultural values as filial piety and "the honor and respect due to seniors, the duties incumbent on juniors" The common Chinese funerary symbol of a woman in the door may represent a "basic male fantasy of an elysian afterlife with no restrictions: in all the doorways of the houses stand available women looking for newcomers to welcome into their chambers" Han Dynasty inscriptions often describe the filial mourning for their subjects, for example text from a funeral stele for the daughter of a scholar-official of the dynasty, which described the "hurt and grief" of her two sons:.
answer:

What were much more varied in later periods?