In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.
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Question: Passage: Before dawn on September 13, 1964, the ruling military junta of South Vietnam, led by General Nguyễn Khánh, was threatened by a coup attempt headed by Generals Lâm Văn Phát and Dương Văn Đức, who sent dissident units into the capital Saigon. They captured various key points and announced over national radio the overthrow of the incumbent regime. With the help of the Americans, Khánh was able to rally support and the coup collapsed the next morning without any casualties.
In the immediate month leading up the coup, Khánh's leadership had become increasingly troubled. He had tried to augment his powers by declaring a state of emergency, but this only provoked large-scale protests and riots calling for an end to military rule, with Buddhist activists at the forefront. Fearful of losing power, Khánh began making concessions to the protesters and promised democracy in the near future. He also removed several military officials closely linked to the discriminatory Catholic rule of the slain former President Ngô Đình Diệm; this response to Buddhist pressure dismayed several Catholic officers, who made a few abortive moves to remove him from power.
In part because of pressure from Buddhist protests, Khánh removed the Catholics Phát and Đức from the posts of Interior Minister and IV Corps commander, respectively. They responded with a coup supported by the Catholic-aligned Đại Việt Quốc dân đảng, as well as General Trần Thiện Khiêm, a Catholic who had helped Khánh to power. Having captured the radio station, Phát then made a broadcast promising to revive Diệm's policies. Khánh managed to evade capture and, during the first stage of the coup, there was little activity as most senior officers failed to support either side. Throughout the day, Khánh gradually rallied more allies and the U.S. remained supportive of his rule and pressured the rebels to give up. With the backing of Air Marshal Nguyễn Cao Kỳ, commander of the Republic of Vietnam Air Force, and General Nguyễn Chánh Thi, Khánh was able to force Phát and Đức to capitulate the next morning, September 14. Đức, Kỳ and Thi then appeared at a media conference where they denied that any coup had taken place and put on a choreographed display of unity, claiming that nobody would be prosecuted over the events. 
Question: What is the full name of the person who made a broadcast promising to revive Diệm's policies?

Answer: Lâm Văn Phát.


Question: Passage: Caspar David Friedrich was born on 5 September 1774, in Greifswald, Swedish Pomerania, on the Baltic coast of Germany. The sixth of ten children, he was brought up in the strict Lutheran creed of his father Adolf Gottlieb Friedrich, a candle-maker and soap boiler. Records of the family's financial circumstances are contradictory; while some sources indicate the children were privately tutored, others record that they were raised in relative poverty. Caspar David was familiar with death from an early age. His mother, Sophie Dorothea Bechly, died in 1781 when he was just seven. A year later, his sister Elisabeth died, while a second sister, Maria, succumbed to typhus in 1791. Arguably the greatest tragedy of his childhood happened in 1787 when his brother Johann Christoffer died: at the age of thirteen, Caspar David witnessed his younger brother fall through the ice of a frozen lake, and drown. Some accounts suggest that Johann Christoffer perished while trying to rescue Caspar David, who was also in danger on the ice.
Friedrich began his formal study of art in 1790 as a private student of artist Johann Gottfried Quistorp at the University of Greifswald in his home city, at which the art department is now named Caspar-David-Friedrich-Institut in his honour. Quistorp took his students on outdoor drawing excursions; as a result, Friedrich was encouraged to sketch from life at an early age. Through Quistorp, Friedrich met and was subsequently influenced by the theologian Ludwig Gotthard Kosegarten, who taught that nature was a revelation of God. Quistorp introduced Friedrich to the work of the German 17th-century artist Adam Elsheimer, whose works often included religious subjects dominated by landscape, and nocturnal subjects. During this period he also studied literature and aesthetics with Swedish professor Thomas Thorild. Four years later Friedrich entered the prestigious Academy of Copenhagen, where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life. Living in Copenhagen afforded the young painter access to the Royal Picture Gallery's collection of 17th-century Dutch landscape painting. At the Academy he studied under teachers such as Christian August Lorentzen and the landscape painter Jens Juel. These artists were inspired by the Sturm und Drang movement and represented a midpoint between the dramatic intensity and expressive manner of the budding Romantic aesthetic and the waning neo-classical ideal. Mood was paramount, and influence was drawn from such sources as the Icelandic legend of Edda, the poems of Ossian and Norse mythology. 
Question: What is the full name of the man who taught taught that nature was a revelation of God to the person who lost his mother when he was seven?

Answer: Ludwig Gotthard Kosegarten.


Question: Passage: Above the pylon, separated by the cornice, are the three Virtues—from left to right, Faith, Charity, and Hope—in shell niches, separated by four Corinthian fluted pilasters. Such a motif is unprecedented in Tuscan funerary sculpture but found at this date in Venice, Padua, and especially Cossa's native Naples. As a result, excursions to Venice have been suggested for both Michelozzo and Donatello. However, Janson suggests that one "need not go all the way to Venice" to find such motifs. Outside Florence, Virtues were common on tombs, with the cardinal Virtues used for laymen, and the theological virtues reserved for ecclesiastics, including the Brancaccio tomb. However, the Cossa Virtues, from their hair to their sandals, are more thoroughly antique. Donatello also produced two similar bronze Virtues for the Siena Baptistry, whose chronological relationship to the Cossa Virtues is unclear.The 1.05-metre (3.44 ft) tall Faith, to the right of Charity, is holding a Eucharistic chalice; the 1.07-metre (3.51 ft) tall Charity is holding a cornucopia and a brazier (or flaming vase); and the 1.06-metre (3.48 ft) tall Hope, to the left of Charity, has hands clasped in prayer. The central figure of Charity is the most antique, assimilating elements of Classical depictions of Abundantia, Ceres, and Juno, all of which were depicted with cornucopias in their left hands. Besides underscoring the antiquity of the tomb monument, the main purpose of the tall yet poorly finished Virtues is to put additional vertical distance between the viewer and the effigy, which has the cumulative effect of de-emphasizing the peculiarities of Cossa, in favor of a generic pontiff (i.e. a potential line of Florentine popes), by blunting the "immediacy" of the trope of lying in state, which was otherwise dominant on Quattrocento wall tombs. 
Question: Which virtue is holding a Eucharistic chalice?

Answer:
Faith.