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: Virginia has the highest concentration of technology workers of any state, and the fourth-highest number of technology workers after California, Texas, and New York. Computer chips became the state's highest-grossing export in 2006, surpassing its traditional top exports of coal and tobacco combined, reaching a total export value of $717 million in 2015. Northern Virginia, once considered the state's dairy capital, now hosts software, communication technology, defense contracting companies, particularly in the Dulles Technology Corridor.
The state has the highest average and peak Internet speeds in the United States, with the third-highest worldwide. Northern Virginia's data centers can carry up to 70% of the nation's Internet traffic, and in 2015 the region was the largest and fastest growing data center market in the nation.Forbes magazine has named Virginia the best state in the nation for business five times, and included it in their top five in 2018, as did CNBC in their America's Top States For Business 2018 rankings, with its deductions being mainly for the high cost of living. Additionally, in 2014 a survey of 12,000 small business owners found Virginia to be one of the most friendly states for small businesses. Virginia has 23 Fortune 500 companies, ranking the state sixth nationwide. Tysons Corner is one of the largest business districts in the nation.
Tourism in Virginia supported an estimated 210,000 jobs and generated $21.2 billion in 2012. Arlington County is the top tourist destination in the state by domestic spending, followed by Fairfax County, Loudoun County, and Virginia Beach. 
Question: What are the top four states with the highest concentration of technology workers?
Virginia.

Passage: George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Watts was apprenticed as a sculptor at the age of 10, and by his mid-teens was proficient enough as an artist to be earning a living as a portrait painter. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. From 1837, Watts was successful enough to devote himself full-time to painting.In 1843 Watts travelled to Italy where he remained for four years. On his return to London he suffered from melancholia, and painted many notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded, and in 1867 he was elected to the Royal Academy, at the time the highest honour available to an artist, although he rapidly became disillusioned with its culture. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame. 
Question: What is the last name of the person gained admission to the Royal Academy schools at age 18?
Watts.

Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.". 
Question: What was the first name of the person Catherine could have given the piece to ask as gift by way of protection on his travels?

Michele.