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.
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Question: Passage: The boards of the covers, previously assumed to be limewood, are now thought to be birch, an unusual wood in later bindings, but one easily available in northern England.  Both have four holes where the binding threads were laced through; the two threads were run round the inner edges of the cover and knotted back at the holes.  The front cover has an additional 12 holes where the ends of the cords for the raised framing lines went through, at the four corners of the two main frames, and the ends of the horizontal bars between the interlace panels and the central vine motif.The stitching of the binding uses "Coptic sewing", that is "flexible unsupported sewing (produced by two needles and thread looping round one another in a figure-of-eight sewing pattern)"  Coptic sewing uses small threads both to attach the leaves together and, knotted together, to attach the pages to the cover boards. Normal Western binding uses thread for the former and thicker cord running across the spine of the book for the latter, with the thread knotted onto the cords.  Coptic sewing is also found in the earliest surviving leather bookbindings, which are from Coptic libraries in Egypt from the 7th and 8th centuries; in particular the design of the cover of one in the Morgan Library (MS M.569) has been compared to the St Cuthbert Gospel.  In the techniques used in the binding, apart from the raised decoration, the closest resemblance is to an even smaller Irish pocket gospel book from some 50 years later, the Cadmug Gospels at Fulda, which is believed to have belonged to Saint Boniface.  This is also in red goatskin, with coloured incised lines, and uses a similar unsupported or cordless stitching technique.  The first appearance of the cords or supports that these "unsupported" bindings lack is found in two other books at Fulda, and they soon became universal in, and characteristic of, Western bookbinding until the arrival of modern machine techniques.  The cords run horizontally across the spine, and are thicker than the threads that hold the pages together.  They are attached, typically by lacing through holes or glue, to the two boards of the cover, and the threads holding the gatherings are knotted to them, resulting in a stronger binding.

Answer: Which types of boards have four holes where the binding threads were laced through?


Question: Passage: Altar 1 is found at the base of Stela 1. It is rectangular in shape with carved molding on its side.Altar 2 is of unknown provenance, having been moved to outside the administrator's house on the San Isidro Piedra Parada plantation. It is 1.59 metres (63 in) long, about 0.9 metres (35 in) wide and about 0.5 metres (20 in) high. It represents an animal variously identified as a toad and a jaguar. The body of the animal was sculptured to form a hollow 85 centimetres (33 in) across and 26 centimetres (10 in) deep. The sculpture was broken into three pieces.Altar 3 is a roughly worked flat, circular altar about 1 metre (39 in) across and 0.3 metres (12 in) high. It was probably associated originally with a stela but its original location is unknown, it was moved near to the manager's house on the San Isidro Piedra Parada plantation.Altar 5 is a damaged plain circular altar associated with Stela 2.Altar 7 is near the southern edge of the plaza on Terrace 3, where it is one of five monuments in a line running east-west.Altar 8 is a plain monument associated with Stela 5, positioned on the west side of Structure 12.Altar 9 is a low four-legged throne placed in front of Structure 11.Altar 10 was associated with Stela 13 and was found on top of the large offering of ceramics associated with that stela and the royal tomb in Structure 7A. The monument was originally a throne with cylindrical supports that was reused as an altar in the Classic period.Altar 12 is carved in the early Maya style and archaeologists consider it to be an especially early example dating to the first part of the Late Preclassic. Because of the carvings on the upper face of the altar, it is supposed that the monument was originally erected as a vertical stela in the Late Preclassic, and was reused as a horizontal altar in the Classic. At this time 16 hieroglyphs were carved around the outer rim of the altar. The carving on the upper face of the altar represents a standing human figure portrayed in profile, facing left. The figure is flanked by two vertical series of four glyphs. A smaller profile figure is depicted facing the first figure, separated from it by one of the series of glyphs. The central figure is depicted standing upon a horizontal band representing the earth, the band is flanked by two earth monsters. Above the figure is a celestial band with part of the head of a sacred bird visible in the centre. The 16 glyphs on the rim of the monument are formed by anthropomorphic figures mixed with other elements.

Answer: What is the name of the sculpture that was broken into three pieces?


Question: Passage: Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881. While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks. Among his last visitors were Oscar Wilde and James Whistler. He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me." Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."
In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God. Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built. Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability.".

Answer:
What was the last name of the person who caught a chill and returned to London?