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.

Ex Input:
Passage: Baroque eventually went out of fashion. In some parts of Europe, it metamorphosed into the rococo, but not in Sicily. No longer ruled by Austria, Sicily, from 1735 officially the Kingdom of Sicily, was ruled by the King of Naples, Ferdinand IV. Hence Palermo was in constant association with the principal capital Naples, where there was architecturally a growing reversion to the more classical styles of architecture. Coupled with this, many of the more cultured Sicilian nobility developed a fashionable obsession with all things French, from philosophy to arts, fashion, and architecture. Many of them visited Paris in pursuit of these interests and returned with the latest architectural engravings and theoretical treatises. The French architect Léon Dufourny was in Sicily between 1787 and 1794 to study and analyse the ancient Greek temples on the island. Thus Sicilians rediscovered their ancient past, which with its classical idioms was now the height of fashion. The change in tastes did not come about overnight. Baroque remained popular on the island, but now Sicilian balconies, extravagant as ever, would be placed next to severe classical columns. Dufourny began designing in Palermo, and his "Entrance Temple" (1789) to the Botanical Gardens was the first building in Sicily in a style based on the Greek Doric order. It is pure neoclassical architecture, as established in England since 1760, and it was a sign of things to come.
It was Dufourny's great friend and fellow architect Giuseppe Marvuglia who was to preside over the gradual decline of Sicilian Baroque. In 1784 he designed the Palazzo Riso-Belmonte, the finest example of this period of architectural transition, combining both Baroque and Palladian motifs, built around an arcaded courtyard providing Baroque masses of light and shade, or chiaroscuro. The main façade, punctuated by giant pilasters, also had Baroque features, but the skyline was unbroken. The pilasters were undecorated, simple, and Ionic, and supported an undecorated entablature. Above the windows were classical unbroken pediments. Sicilian Baroque was waning. 
Question: What is the name of the person who designed the Pallazzo Riso-Belmonte?

Ex Output:
Giuseppe Marvuglia.


Ex Input:
Passage: In 1987, James Brennan plans to have a summer vacation in Europe after graduating with a comparative literature degree from Oberlin College and to attend a journalism graduate school at Columbia University when his holidays end. A few days after his graduation, his parents advise him to seek a part-time job rather than going to Europe when they unexpectedly announce that financial problems have taken a toll on them and they would be unable to financially support him.
James gets a job at Adventureland, a local amusement park in his hometown of Pittsburgh, Pennsylvania, where his childhood friend Tommy Frigo works. Assistant manager Bobby assigns James to the games area. He meets his co-workers: sarcastic Joel; Bobby's wife and park manager Paulette; Sue O'Malley; Mark; the alluring Lisa P.; and the park's technician, Mike Connell, a part-time musician. Another games worker, Emily "Em" Lewin, saves James from being stabbed by a lying, cheating customer.
With her father and stepmother away, Em throws a party and gets to know James. During the conversation, Em persuades James to join her in the house's swimming pool. After Em leaves the pool, James follows only to jump back into the water in humiliation when Frigo announces to the partygoers that he saw James having an erection while leaving the pool. After the party, Connell, who has been having an affair with Em, comes over to further pursue it. 
Question: What's the name of the park technician's workplace?

Ex Output:
Adventureland.


Ex Input:
Passage: Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Félix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Théophile Silvestre's description of Ingres; "There he was squarely seated in an armchair, motionless as an Egyptian god carved of granite, his hands stretched wide over parallel knees, his torso stiff, his head haughty". Some compared it to Balthasar Denner, a German realist painter influenced by Jan van Eyck. Denner, in the words of Ingres scholar Robert Rosenblum, "specialised in recording every last line on the faces of aged men and women, and even reflections of windows in their eyes." The comparison was made by Ingres' admirers and detractors alike. In 1833, Louis de Maynard of the Collège-lycée Ampère, writing in the influential L'Europe littéraire, dismissed Denner as a weak painter concerned with hyperrealistic "curiosities", and said that both he and Ingres fell short of the "sublime productions of Ingres' self-proclaimed hero, Raphael."The following year Ingres sought to capitalise on the success of his Bertin portrait. He showed his ambitious history painting The Martyrdom of Saint Symphorian at the 1834 Salon, but it was harshly criticised; even Ingres' admirers offered only faint praise. Offended and frustrated, Ingres declared he would disown the Salon, abandon his residence in Paris for Rome, and relinquish all current positions, ending his role in public life. This petulance was not to last.Bertin bequeathed the portrait to his daughter Louise (1805–1877) on his death. She passed it to her niece Marie-Louise-Sophie Bertin (1836–1893) wife of Jules Bapst, a later director of the Journal des débats. They bequeathed it to their niece Cécile Bapst, its last private owner. In 1897 Cécile sold it to the Musée du Louvre for 80,000 francs. 
Question: What was the last name of the person who showed his ambitious history painting at the 1834 Salon?

Ex Output:

Ingres.