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.

Passage: Nannerl herself was an   apt pupil, no less quick to learn than her brother, and was playing the keyboard with striking virtuosity by the time she was eleven. In that year, 1762, Leopold brought the children to Munich to play before Maximilian III Joseph, Elector of Bavaria. Leopold then took the entire family to Vienna, on a trip that lasted for three months. He had secured invitations from several noble patrons, and within three days of arriving the children were playing at the palace of Count Collalto. Among those present was the Viennese Treasury councillor and future prime minister Karl von Zinzendorf, who noted in his diary that "a little boy, said to be only five-and-a-half years old [Wolfgang was actually nearly seven], played the harpsichord". After an appearance before the Imperial Vice-Chancellor, the Mozarts were invited to the royal court, where the Empress Maria Theresa tested Wolfgang's abilities by requiring him to play with the keyboard covered. During this court visit Wolfgang met the Archduchess Maria Antonia, the future Queen Marie Antoinette of France, who was two months his senior. Mozart's biographer Eric Blom recounts an anecdote of how the Archduchess helped Wolfgang when he slipped on the polished floor; she is supposed to have received a proposal of marriage in return.As the Mozarts began to be noticed by the Viennese aristocracy, they were often required to give several performances during a single day. They were well rewarded for this activity—at the end of their first hectic week in Vienna, Leopold was able to send home the equivalent of more than two years' salary. Their schedule was interrupted when Wolfgang fell ill with scarlet fever, and their former momentum was not regained. Nevertheless, the visit left Leopold eager to pursue further opportunities for social and financial success. On their return to Salzburg, Wolfgang played the harpsichord and violin at a birthday concert for the archbishop, to the evident astonishment of those present. 
Question: Who played the keyboard with striking virtuosity?
Wolfgang.

Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture. 
Question: What form became the primary motif of Moore's sculpture?
the Chac Mool.

Passage: The Domesday Book provides the earliest mention of the area, where it is recorded as "Cedde", Celtic for "wood". Local archaeological finds include Bronze Age axes discovered in Cheadle. Evidence of Roman occupation includes coins and jewellery, which were discovered in 1972. The modern-day Cheadle Road was originally known as Street Lane, and may be of Roman origin. A stone cross dedicated to the Anglo-Saxon St Chad, discovered in 1873, indicates Anglo-Saxon activity. The cross was found in an area called "Chad Hill", on the banks of the Micker Brook near its confluence with the River Mersey; this area became "Chedle". Suggestions for the origin of the name include the words cedde, and leigh or leah, in Old English meaning "clearing", forming the modern day "Cheadle". "Hulme" may have been derived from the Danish word for "water meadow" or "island in the fen".According to the Domesday Book in 1086, the modern-day Cheadle and Cheadle Hulme were a single large estate. Valued at £20, it was described as "large and important" and "a wood three leagues [about 9 miles] long and half as broad". One of the earliest owners of the property was the Earl of Chester. It was held by a Gamel, a free Saxon, under Hugh d'Avranches, 1st Earl of Chester, and later became the property of the de Chedle family, who took their name from the land they owned. By June 1294 Geoffrey de Chedle was Lord of the Manor. Geoffrey's descendant Robert (or Roger) died in the early 1320s, leaving the estate to his wife Matilda who held it until her death in 1326. As there were no male heirs the manor, which was now worth £30 per annum, was divided between her daughters, Clemence and Agnes. Clemence inherited the southern half (which would later become the modern-day Cheadle Hulme), and Agnes inherited the northern half, (latterly Cheadle). The two areas became known as "Chedle Holme" and "Chedle Bulkeley" respectively. Shortly afterwards the Chedle Holme estate was divided and the part where Hulme Hall is now situated became known as "Holme", and held by the Vernons. The estates were reunified on the death of the last of the Vernons in 1476. 
Question: Who had a wife named Matilda?

Robert.