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: After his stern Uncle Daniel describes him as a "millstone" for neglecting his chores, ten year old Toby Tyler runs away from his foster home to join the circus. There he soon befriends Mr. Stubbs, a frisky chimpanzee. However, the circus isn't all fun and games. His employer Harry Tupper, the candy vendor, is dishonest and greedy. He convinces Toby that his Aunt Olive and Uncle Daniel don't love him or want him back and hides their letters. Toby resigns himself to circus life, even scoring himself a much bigger role, when he replaces the uppity, self-centered boy bareback rider after an injury. When Toby discovers, with the help of Mr. Stubbs, that Harry lied to him about his aunt and uncle he departs the circus for home. Mr. Stubbs follows him and Toby decides to take the chimp home with him. Soon after, though, Mr. Stubbs is chased by a hunter's dog. The hunter, Jim Weaver, accidentally shoots Mr. Stubbs just as Harry arrives to haul Toby back to the circus.  
Back at the circus, Toby finds his aunt and uncle in attendance, leading to a tearful reunion. When Harry tries to pursue Toby, he's obstructed by Ben, who confronts him for tampering with Toby's mail and warns him to leave him alone. Joyfully, just before Toby's performance, with his family in attendance, he discovers that Mr. Stubbs has survived his wounds, having been brought back to the circus by Jim. Relieved, Toby begins his performance on horseback, only to have Mr. Stubbs jump down from the trapeze to join him, thus creating a wonderful new act for the circus. 
Question: What is the full name of the person Harry Tupper employeed?

Ex Output:
Toby Tyler.


Ex Input:
Passage: The Catacombs of Rome contain most of the surviving Christian art of the Early Christian period, mainly in the form of frescos and sculpted sarcophagi. They show a Christian iconography emerging, initially from Roman popular decorative art, but later borrowing from official imperial and pagan motifs.  Initially, Christians avoided iconic images of religious figures, and sarcophagi were decorated with ornaments, Christian symbols like the Chi Rho monogram and, later, narrative religious scenes. The Early Christians' habit, after the end of their persecution, of building churches (most famously St Peter's, Rome) over the burial places of martyrs who had originally been buried discreetly or in a mass grave perhaps led to the most distinctive feature of Christian funerary art, the church monument, or tomb inside a church. The beliefs of many cultures, including Judaism and Hinduism as well as classical paganism, consider the dead ritually impure and avoid mixing temples and cemeteries (though see above for Moche, and below for Islamic culture).
In the late Middle Ages, influenced by the Black Death and devotional writers, explicit memento mori imagery of death in the forms of skulls or skeletons, or even decomposing corpses overrun with worms in the transi tomb, became common in northern Europe, and may be found in some funerary art, as well as motifs like the Dance of Death and works like the Ars moriendi, or "Art of Dying".  It took until the Baroque period for such imagery to become popular in Italy, in works like the tomb of Pope Urban VIII by Bernini (1628–1647), where a bronze winged skeleton inscribes the Pope's name on a tablet below his enthroned effigy.  As cities became more crowded, bones were sometimes recovered after a period, and placed in ossuaries where they might be arranged for artistic effect, as at the Capuchin Crypt in Rome or the Czech Sedlec Ossuary, which has a chandelier made of skulls and bones. 
Question: What shows a Christian iconography emerging, initially from Roman popular decorative art?

Ex Output:
surviving Christian art of the Early Christian period.


Ex Input:
Passage: At this stage of its development, Sicilian Baroque still lacked the freedom of style that it was later to acquire. Giovanni Battista Vaccarini was the leading Sicilian architect during this period. He arrived on the island in 1730 bringing with him a fusion of the concepts of Bernini and Borromini, and introduced to the island's architecture a unified movement and a play of curves, which would have been unacceptable in Rome itself. However, his works are considered of lesser quality than that which was to come. Notable works which date from this period are the 18th century wings of the Palazzo Biscari at Catania; and Vaccarini's church of Santa Agata, also in Catania. On this building Vaccarini quite clearly copied the capitals from Guarino Guarini's Architettura Civile. It is this frequent copying of established designs that causes the architecture from this period, while opulent, also to be disciplined and almost reined in. Vaccarini's style was to dominate Catania for the next decades.
A second hindrance to Sicilian architects' fully achieving their potential earlier was that frequently they were only rebuilding a damaged structure, and as a consequence having to match their designs to what had been before, or remained. The Cathedral of San Giorgio at Modica (Illustration 10) is an example. It was badly damaged in the earthquake of 1613, rebuilt in 1643 in a Baroque style while keeping the medieval layout, then damaged again in 1693. Rebuilding again began in 1702, by an unknown architect. Finally, Rosario Gagliardi oversaw the façade's completion in 1760, but the compromises he had to make in deference to the existing structure are obvious. While Gagliardi used the same formulae he used so successfully at the church of San Giorgio in Ragusa, here in Modica the building is heavier, and lacks his usual lightness of touch and freedom of design. 
Question: In what city was Giovanni Battista Vaccarini's style unaccepted?

Ex Output:

Rome.