Question: Which of the two locations di Pietro preached at after 1872 was smaller? Passage 1:It was first studied by Lorraine Copeland and Peter Wescombe in 1965–1966. A wide variety of materials were recovered from the site and its immediate area that are now held in the Saint Joseph University in Beirut. Stone tools from the surface included numerous short, wide, sickle blades with fine denticulation or nibbling along with tanged arrowheads, scrapers, chisels, axes, burins, obsidian and a small green stone axe. Pottery resembled middle periods at Byblos and coloured similar to at Ard Tlaili with red or black washes. Both fine and coarse shards were found of jars with a variety of collared and flared necks and flat bases along with bow rims such as those found at Jericho. Vessels were decorated with stabbed and incised designs, finger pressed around the rim and smoothed by hand or with straw. A painted lattice pattern was detected on at least one piece. Comparisons were made with middle and late Neolithic periods at Byblos showing inhabitation from several phases. The site was also used in Bronze Age and Classical times and material from these phases has been found over a wide area around the site.
 Passage 2:Salvatore di Pietro was born in Palermo, Italy, on 15 June 1830. He entered the Society of Jesus (Jesuits) in October 1845 and was ordained a priest on 2 June 1859. He arrived in British Honduras (now known as "Belize") on 22 March 1869. On May 12 he suffered an attack of yellow fever. His superiors transferred him to Guatemala, where he preached missions to the Garifuna. He was appointed head of the missions in northern Guatemala, but along with 80 other Jesuits fled the country in September 1871 when the Liberals gained control and persecuted the Catholic Church. In 1872 president Jose Maria Medina invited him to Spanish Honduras to found a college in the capital Comayagua. He began by preaching missions in Omoa and San Pedro Sula. However, the Liberals took control of Spanish Honduras also and he returned to Belize.
 Passage 3:Vassos moved to Boston, Massachusetts in 1919, where he attended the Fenway Art School at night. He studied alongside American artist John Singer Sargent and worked as an assistant for Joseph Urban. In 1924 he moved to New York, where he attended the Art Students League of New York, studying under George Bridgman, John Sloan, and others. He opened his own studio creating window displays for department stores, like Wanamakers, murals, and advertisements for Saks Fifth Avenue, Bonwit Teller, and Packard Motor Cars in his unique black and white illustrated style. At the same time, he illustrated a series of books by Oscar Wilde for E.P. Dutton followed by others including Phobia on which he based his life-long design focus on psychology, his area of expertise as noted by Fortune Magazine's list of top designers in the country. He entered the emergent field of industrial design and was hired by rapidly-growing RCA Victor, under the leadership of David Sarnoff, who discovered Vassos while painting murals at the WCAU skyscraper in Philadelphia. The company had recently acquired Victor Phonograph, built Radio City, and owned NBC Broadcasting, but needed to amplify and modernize their radio manufacturing business. By hiring Vassos, an up-and-coming industrial designer who created their first Styling department, launched Vassos on a four-decade relationship with the company for whom he designed hundreds of items, while also consulting for numerous other clients like Coca-Cola, Waterman, Universal Artists, Remington, and the United States Government. Vassos's work as an interior designer included the Chrysler Building apartment of photographer Margaret Bourke-White, Nedick's Hot Dog stands, displays for RCA in department stores and the World's Fair,and many others for which he employed modular furniture. He eschewed trendy styles like the extreme-streamlined look, popular in the 1930s, and favored the clean, modern look unadorned with unnecessary elements. He expressed his design philosophy for magazines like Pencil Points and in lectures on modern design and art. Although he was hailed as a top designer in the United States during the 1930s, he slipped away from the spotlight of his industrial design peers like Raymond Loewy, Henry Dreyfuss, and Norman Bel Geddes, largely because he did not open a large firm. Unique among the industrial designers of the 20th century, his work was focused on the intersections between interior decorating, furniture design, and the shapes of phonographs, radios and televisions. His contributions include creating a futuristic living room including television, the slide rule dial on radios, emphasis on the haptic experience of media (knobs and buttons), and the "user experience," years before this term was coined.

Output: 2