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: Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was elected a member of the Berlin Academy in 1810. Yet in 1816, he sought to distance himself from Prussian authority and applied that June for Saxon citizenship. The move was not expected; the Saxon government was pro-French, while Friedrich's paintings were seen as generally patriotic and distinctly anti-French. Nevertheless, with the aid of his Dresden-based friend Graf Vitzthum von Eckstädt, Friedrich attained  citizenship, and in 1818, membership in the Saxon Academy with a yearly dividend of 150 thalers. Although he had hoped to receive a full professorship, it was never awarded him as, according to the German Library of Information, "it was felt that his painting was too personal, his point of view too individual to serve as a fruitful example to students." Politics too may have played a role in  stalling his career: Friedrich's decidedly Germanic subjects and costuming frequently clashed with the era's prevailing pro-French attitudes.
[A]: What is the first name of the man that the Dresden-based person helped attain membership into the Saxon Academy?


[Q]: Passage: Dr Stedman is murdered by an intruder in his study and two toy soldiers are stolen from his desk. The next day, Hugh Drummond reads about the murder in the newspaper. He is approached by a friend, Phillip Coleman, who tells him that he owns two similar figures and that he has received first offers, then threats to sell them. According to Coleman, the soldiers are 900 years old, dating back to the time of William the Conqueror. Coleman leaves the two painted lead figures with Drummond for safety and asks him to look into the affair. To flush out whoever is trying to get the figurines they plant a press story that Drummond has bought them from Coleman.
When a woman, who introduces herself as journalist Estelle Gorday, visits Drummond's apartment, she recognizes the right figures out of a collection that Drummond has assembled on his mantle piece. Drummond and his friend Longworth then visit Stedman Manor and meet the daughter of the victim, Cynthia. She tells them that her father's figures were very similar to those brought by Drummond but different in detail and that they were part of a set of 13 soldiers that Dr Stedman bought at auction together with an Anglo-Saxon palimpsest. He was translating that when he was killed and the scroll was also taken. Dr Stedman was convinced that the statues were exceedingly valuable and he received an offer to buy them from a man called Vane. Vane offered a multiple of what Stedman has paid and left very angry when rejected.
Drummond and Longworth follow an invitation by Ms Gorday. While they are there, Vane breaks into Drummond's apartment and steals the two soldiers. Coleman and Seymour, another friend of Drummond's, shadow him to a Soho flat. Seymour fetches Drummond and they return to Soho. Drummond and Longworth go up. A knife is thrown at them and they find Vane dead and the soldiers missing.
[A]: Who was translating a scroll?


[Q]: Passage: The Annunciation draws heavily on van der Weyden's 1430s Louvre Annunciation, his c. 1455  Saint Columba altarpiece, and the Clugny Annunciation (c. 1465–75), which is attributed to either van der Weyden or Memling. Memling almost certainly was apprenticed to van der Weyden in Brussels until setting up his own workshop in Bruges sometime after 1465. Memling's Annunciation is more innovative, with motifs such as the attendant angels that were absent in the earlier paintings. According to Till-Holger Borchert, not only was Memling familiar with van der Weyden's motifs and compositions, but he might have assisted with the underdrawing in van der Weyden's workshop. The shutters on the right are copied from the Louvre panel, the knotted curtain appears in the Columba triptych's "Annunciation".A sense of movement is conveyed throughout. The trailing edges of Gabriel's garment fall outside the pictorial space, indicating his arrival. The Virgin's "serpentine" pose, with attendant angels supporting her, adds to the sense of flow. Memling's use of color achieves a startling effect. The traditional rays of light are replaced with light color indicators; the white clothes rendered in "icy" blue, the angel to the right in yellow patches seems "bleached by light", the left-hand angel appears to be steeped in shadow, dressed in clothes of lavender and bearing deep green wings. The effect is iridescent, according to Blum, who writes, "this shimmering surface gives [the figures] an unearthly quality, separating them from the more believable world of the bedchamber." The effect deviates from the pure naturalism and realism which typifies Early Netherlandish art, causing a "startling" juxtaposition, an effect that is "unsteadying" and contradictory.
[A]:
What is the name of the person who might have assisted with the underdrawing in Van der Weyden's workshop?