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 Q]: Passage: The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured Zulma Bouffar, who was perhaps the librettists' preferred choice. She had sung leading roles in many of Offenbach's operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to Marie Roze, well known for previous triumphs at the Opéra-Comique, the Opéra and in London. She refused the part when she learned that she would be required to die on stage. The role was then offered to Célestine Galli-Marié, who agreed to terms with du Locle after several months' negotiation. Galli-Marié, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal.The leading tenor part of Don José was given to Paul Lhérie, a rising star of the Opéra-Comique who had recently appeared in works by Massenet and Delibes. He would later become a baritone, and in 1887 sang the role of Zurga in the Covent Garden premiere of Les pêcheurs de perles. Jacques Bouhy, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Méphistophélès in Gounod's Faust and as Mozart's Figaro. Marguerite Chapuy, who sang Micaëla, was at the beginning of a short career in which she was briefly a star at London's Theatre Royal, Drury Lane; the impresario James H. Mapleson thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return. 
Question: What is the full name of the person who Mapleson thought to be "one of the most charming vocalists" it had ever been his pleasure to know?
[EX A]: Marguerite Chapuy.

[EX Q]: 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 A]: surviving Christian art of the Early Christian period.

[EX Q]: Passage: Sally and Humphrey have just put a down payment on a house, when Sally loses her receptionist job after accidentally destroying the switchboard.  She applies for a Fuller Brush franchise, but needs a reference from her former employer, Harvey Simpson.  Meanwhile, Harvey is in trouble with his wife because he's come home with a suit coat smelling of Fuller Brush powder.  Mrs. Simpson thinks her husband is having an affair, so Harvey calls Humphrey to have Sally go to Harvey's house and explain everything to his wife.  With her reference letter depending on it, Sally goes to the house to find a bogus Mrs. Simpson, a dead body, and missing diamonds. Afraid the police will suspect her of foul play, Sally and Humphrey identify the real culprit and pursue her to her job dancing at a burlesque theater, and then onto a departing ocean liner.  Hilarity ensues as the pair are chased around the ship by a criminal gang trying to silence them, while they hide variously in rooms filled with leaky wine barrels, bunches of bananas, and a talking parrot who nearly gives them away. 
Question: Who is afraid of becoming a police suspect?
[EX A]:
Sally.