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: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.
[A]: What are the full names of the girls who had taken the photographs that Polly Wright showed at the meeting?


[Q]: Passage: Holst made some recordings, conducting his own music. For the Columbia company he recorded Beni Mora, the Marching Song and the complete Planets with the London Symphony Orchestra (LSO) in 1922, using the acoustic process. The limitations of early recording prevented the gradual fade-out of women's voices at the end of "Neptune", and the lower strings had to be replaced by a tuba to obtain an effective bass sound. With an anonymous string orchestra Holst recorded the St Paul's Suite and Country Song in 1925. Columbia's main rival, HMV, issued recordings of some of the same repertoire, with an unnamed orchestra conducted by Albert Coates. When electrical recording came in, with dramatically improved recording quality, Holst and the LSO re-recorded The Planets for Columbia in 1926.In the early LP era little of Holst's music was available on disc. Only six of his works are listed in the 1955 issue of The Record Guide: The Planets (recordings under Boult on HMV and Nixa, and another under Sir Malcolm Sargent on Decca); the Perfect Fool ballet music; the St Paul's Suite; and three short choral pieces. In the stereo LP and CD eras numerous recordings of The Planets were issued, performed by orchestras and conductors from round the world. By the early years of the 21st century most of the major and many of the minor orchestral and choral works had been issued on disc. The 2008 issue of The Penguin Guide to Recorded Classical Music contained seven pages of listings of Holst's works on CD. Of the operas, Savitri, The Wandering Scholar, and At the Boar's Head have been recorded.
[A]: What is the last name of the person of whose works only six are listed in the 1955 issue of The Record Guide?


[Q]: Passage: El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year Julius Meier-Graefe, a scholar of French Impressionism, traveled in Spain, expecting to study Velásquez, but instead becoming fascinated by El Greco; he recorded his experiences in Spanische Reise (Spanish Journey, published in English in 1926), the book which widely established El Greco as a great painter of the past "outside a somewhat narrow circle". In El Greco's work, Meier-Graefe found foreshadowing of modernity. These are the words Meier-Graefe used to describe El Greco's impact on the artistic movements of his time:.
[A]:
What is the full name of the man who published the first catalogue of the works by the man who was disdained by the immediate generations after his death?