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.

Ex Input:
Passage: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Durer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism.

Ex Output:
What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?

Ex Input:
Passage: Set in the town of Wetherby in West Yorkshire, the film focuses on Jean Travers, a middle-aged spinster schoolteacher. One evening, she invites married friends for a dinner party, only to have some terrible repressions and past traumas dredged up when guest John Morgan expresses his emotional pain. The strange young man arrives at Jean's cottage the next morning with a gift of pheasants. While sitting at the kitchen table waiting for tea, he puts the barrel of a gun in his mouth and kills himself.
From this point onward, the film's story is told in chronologically discrete, interlocking flashbacks to the recent and distant past, showing actions and events as seen and experienced from various points of view. The central mystery of Morgan's suicide is the fulcrum around which the narrative turns. The narrative construction of the film resembles a jigsaw puzzle and, in keeping with Hare's style of exposition, frequently appears to have key pieces missing.
There are further scenes of the dinner party as well as scenes of the police investigation into the suicide. We learn Morgan had not been an invited guesthe walked in with others who assumed he was an acquaintance of Jean's, and Jean assumed that her friends had brought him with them.

Ex Output:
Who has past traumas brought up when someone else expresses their own emotional pain?

Ex Input:
Passage: Mary Watts died in 1938, and was buried alongside George Frederic Watts near the Watts Mortuary Chapel, which she had herself designed and built in Compton in 1901. Following her death, and with both George and Mary Watts increasingly out of fashion, the memorial was abandoned half-finished, with only 52 of the intended 120 spaces filled. In the years following Mary Watts's death there were occasional proposals to add new names to complete the memorial, but the Watts Gallery was hostile to the plans, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time is what makes it of value in the present day.The nave of Christ Church Greyfriars was destroyed by bombing on 29 December 1940. By then the decline in the population of the City of London had reduced the congregation to less than 80, and the parishes of St Leonard, Foster Lane and Christ Church Greyfriars were merged with nearby St Sepulchre-without-Newgate. Although parts of the ruins were cleared during a widening of King Edward Street after the Second World War, the remains of the nave of Christ Church Greyfriars became a public memorial in 1989; the tower is now office space.St Botolph's Aldersgate remains open as a functioning church. Unusually for an English church, because of its location in a now mainly commercial area with few local residents, services are held on Tuesdays instead of the more traditional Sundays. On 4 January 1950, St Botolph's Aldersgate and the surviving ruins of Christ Church Greyfriars were both designated Grade I listed buildings.In 1934, a statue of Sir Robert Peel erected in Cheapside in 1855 was declared an obstruction to traffic and removed. A proposal that it be installed in front of the Bank of England fell through, and in 1952 it was erected in Postman's Park. In 1971 the Metropolitan Police requested that the statue be moved to the new Peel Centre police training complex, and the Corporation of London agreed. In place of Peel's statue, a large bronze sculpture of the Minotaur by Michael Ayrton was unveiled in 1973. Dominating the small park, in 1997 the Minotaur sculpture was moved to a new position on the raised walkway above London Wall.

Ex Output:
What is the full name of the person who designed and built Watts Mortuary Chapel in Compton?