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.

Q: Passage: When the painting was unveiled in 1953, most Chinese critics were enthusiastic.  Xu Beihong, the president of CAFA and a pioneer in using realism in oil painting, admired the manner in which the work fulfilled its political mission, but complained that because of the colors, it barely resembled an oil painting.  He and others, though, saw that the painting opened a new chapter in Chinese art development.  Zhu Dan, head of the People's Fine Arts Publishing House, which would reproduce the painting for the masses, argued that it was more a poster than an oil painting.  Other artists stated that Dong's earlier works, such as Kazakh Shepherdess (1947) and Liberation (1949), were better examples of the new national style of art.  Senior Party leaders, though, approved of the painting, as art historian Chang-Tai Hung put it, "seeing it as a testament to the young nation's evolving identity and growing confidence".Soon after the unveiling, Jiang wanted to arrange an exhibition at which government officials, including Mao, could view and publicly endorse the new Chinese art.  He had connections in Mao's inner circle, and Dong and others organized it to be in conjunction with meetings at Zhongnanhai that Mao led. This was, most likely, the only time Mao attended an art exhibition after 1949.  Mao visited the exhibition three times in between meetings and especially liked The Founding of the Nation—the official photograph of the event shows Mao and Zhou Enlai viewing the canvas with Dong.  The chairman stared at the painting for a long time and finally said, "It is a great nation.  It really is a great nation."  Mao also stated that the portrayal of Dong Biwu was particularly well rendered.  As Dong Biwu was in the second row, mostly hidden by the large Zhu De, Mao was most likely joking, but the favorable reaction by the country's leader assured the success of the painting.The Founding of the Nation was hailed as one of the greatest oil paintings ever by a Chinese artist by reviewers in that country, and more than 500,000 reproductions were sold in three months.  Mao's praise helped boost the painting and its painter.  Dong's techniques were seen as bridging the gap between the elitist medium of oil painting and popular art, and as a boost to Jiang's position that realistic art could be politically desirable.  It was reproduced in primary and secondary school textbooks.  The painting appeared on the front page of People's Daily in September 1953, and became an officially approved interior decoration.  One English-language magazine published by the Chinese government for distribution abroad showed a model family in a modern apartment, with a large poster of The Founding of the Nation on the wall.  According to Chang-Tai Hung, the painting "became a celebrated propaganda piece". 
Question: What is the name of the person who had connections in Mao's inner circle?

A: Jiang.
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Q: Passage: Biographer Hannah Fink estimated that Oliver produced 290 works over a career of 22 years. Of these, public art works are Oliver's best known sculptures. These include Eyrie, created for Adelaide's Hyatt Hotel in 1993, and Magnolia and Palm, commissioned in 1999 by the Sydney Botanical Gardens, as part of the Sydney Sculpture Walk. That same year, Big Feathers was commissioned for the Queen Street Mall in Brisbane. It comprises two large feather-shaped forms suspended above the pedestrian precinct, representing "Queen Street's history of parades as well as the mall's connection between earth and sky".In 2000, Oliver's piece Entwine was a finalist in the inaugural Helen Lempriere National Sculpture Award, while in the following year, Oliver won the University of New South Wales inaugural sculpture commission competition, with her three-metre-high Globe. Other success followed, when Trace was selected for the National Gallery of Australia's 2002 National Sculpture Prize exhibition.In August 2002 she was one of five artists shortlisted by the Australian Government for a project to produce a public artwork celebrating the centenary of women's suffrage in Australia.By the 2000s most of Oliver's output constituted commissioned pieces, whether public or private. The most substantial of these is Vine, a 16.5 metre high sculpture installed as part of the $400 million refurbishment of the Sydney Hilton. Taking twelve months to create and requiring a budget of up to half million dollars, the work was completed in 2005. The sculpture was fabricated from 380 kilograms of aluminium, and assembled by a team of eight Croatian welders.By 2006, Oliver had held 18 solo exhibitions of her work, half of them at Roslyn Oxley9 Gallery, which represented her throughout her career as a sculptor. Only one of those solo exhibitions was held outside Australia: a 1992 exhibition at Auckland City Gallery. However, Oliver was represented in numerous international group shows, including five during the period 1983 to 1984, around the time she completed her master's degree in London. Four of the group shows at that time were in the United Kingdom; the fifth was at the Museum of Traditional Industries in Kyoto. Subsequent international group shows included 'Five Australian Artists' at Brest's Centre Culturale in 1988, the year she undertook an artist's residency in that city. Later group shows of which Oliver was part included 'Prospect '93' at the Frankfurter Kunstverein, 'Systems End: Contemporary Art in Australia', which exhibited in several east Asian galleries in 1996, and the Beijing International Biennale in 2003. 
Question: What is the name of the sculpture that was fabricated from 380 kilograms of aluminium, and assembled by a team of eight Croatian welders?

A: Vine.
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Q: Passage: Three men rob a millionaire of diamonds aboard an airliner in flight. When Police Superintendent Benting tries to intervene, Jack Drake, another passenger, knocks him out to save him from being shot. The thieves force the pilot to land so they can dump the passengers. However, the men find the diamonds have already been stolen by someone else (Drake). 
Drake is a sort of modern-day Robin Hood. He donates the proceeds of his latest robbery to fund the stalled construction of the "New Social Institute". He even writes a book, "Crackerjack": The true story of my exploits., which becomes a bestseller. Everybody is reading it, including the people at Scotland Yard and Baroness Von Haltz, and wondering if it is fact or fiction. The baroness tells her maid Annie that certain passages somehow remind her of Drake, who broke her heart. 
By coincidence, she is residing in the same hotel as Drake. He goes to see her, but she does not forgive him for leaving her without a word in Berlin. He explains that he was forced to leave suddenly, but she is not mollified.
Meanwhile, Drake instructs Burdge, his secretary, to send a cheque for £10,000 to the Buckingham Hospital for a new wing, even though Burdge informs him he is overdrawn at the bank. Drake tells him that the wealthy Mrs. Humbold's pearls will provide ample funds. The Humbolds are hosting a masquerade ball that night, and the baroness will be there.
At the ball, part of the entertainment is a group called the "Four Gangsters", who have been tied up and replaced by a gang of real gangsters, the same thieves from the aeroplane caper. Sculpie, their leader, kills an unarmed man who foolishly tries to resist. Afterward, however, Sculpie is furious to learn that the pearls he took from Mrs. Humbold are fakes. Once again, Drake has the real ones. 
Question: Who does the best selling author successfully steal during the masquerade ball?

A:
Mrs. Humbold's pearls.
****