Q: 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.
Passage: Also exhibited at the 1832 Summer Exhibition along with Youth and Pleasure was The Destroying Angel and Daemons of Evil Interrupting the Orgies of the Vicious and Intemperate, seen as a riposte by Etty to his critics. Another of what Etty deemed "visions", depicting a wholly imaginary scene rather than one from literature, mythology or history, The Destroying Angel shows an imaginary classical temple under attack from a destroying angel and a group of daemons. The human figures, intentionally painted in paler tones than usual to suggest death, each show their fear in a different way. Painted soon after his 1830 travels, it is thought that the heaped corpses and terrified crowds were directly inspired by events Etty had witnessed in Paris.Unlike Youth and Pleasure, the critical response to The Destroying Angel was generally favourable even from those critics usually hostile to Etty. The painting generated favourable comparisons to Michelangelo and Rubens, and Etty's early supporter William Carey (writing under the name of "Ridolfi") considered it to be evidence of Etty's "redeeming grace and spirit". The painting was explicitly seen as a renunciation by Etty of his previous nude studies, with Fraser's Magazine described it as "a sermon to [Etty's] admirers ... where he inflicts poetical justice upon his own gay dames and their gallants, their revels being broken in upon, and they themselves being carried off most unceremoniously, like that little gentleman Don Juan, by sundry grim-looking brawny devils".
At around this time Etty began to receive many unsolicited letters from wealthy Old Etonian lawyer Thomas Myers. Myers was a huge admirer of Etty, and his letters mainly suggest literary topics he felt Etty ought to be painting so as to appeal to the nobility; he wrote regularly between July 1832 and May 1844. Although eccentric and largely incoherent (one of his suggestions was for Etty to raise his profile by painting nude portraits of the wives of the aristocracy), Etty appears to have taken at least some of Myers's suggestions seriously.
A:
What is the first name of the person who was a huge admirer of Etty?