In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

[EX Q]: Passage: In a positive review of the song, Robert Copsey of Digital Spy gave it four out of five stars and praised Rihanna's direction towards a "softer and more prolific edge". Brittany Lewis of GlobalGrind called "Diamonds" a catchy song and felt that it had the potential to be another hit for Rihanna. Glenn Gamboa of Newsday said that, although it does not sound like an emphatic hit, the lyrical content of the song depicts a "personal shift" for Rihanna. According to James Montgomery of MTV News, "Diamonds" is more positive than previous singles such as "We Found Love" and "Where Have You Been", despite its moderate tempo. Lindsey DiMattina of Hollywood.com said that Rihanna's singing is stronger than ever. Contactmusic's reviewer described it as a "laid-back track", and suggested that the lyrical content is related to her former boyfriend Chris Brown. In a track-by-track review of Unapologetic, Andrew Hampp of Billboard found the song inspiring and commented that it "finds Rihanna doing one of her throatiest, most impassioned vocals to date". Andy Kellman of Allmusic cited the song as one of the highlights on Unapologetic, and gave it three and a half stars.In a less enthusiastic critique, Jon Caramanica of The New York Times likened "Diamonds" to a James Bond movie theme song, but with "insipid lyrics". Jim Farber of the New York Daily News felt that the song is not as evocative as it attempts to be and lacks the sense of mystery and engaging production found on "We Found Love". Kevin Blair of the Irish Independent's, Independent Woman, was critical of the song for deviating from Rihanna's previous dance and R&B songs and dismissed it as a "chugging, faintly misty-eyed, middle of the road pop song". Chris Richards of The Washington Post panned the song as a "power ballad without much power".
[EX A]: What is the name of the track described as "laid-back" by Contactmusic's reviewer?

[EX Q]: Passage: The neck guard, flared outward to protect the shoulders, is covered with a decorative plate consisting of three horizontal designs. At the top, over the base of the skull, a large torus of ivy leaves is bordered by cords; the ivy is gilded, though the cords are not. In the middle, a smooth and concave transitional zone corresponds to the hollow of the neck. At the bottom, an acanthus rinceau, or scroll, is interspersed with birds and butterflies. Portions of the bottom ornamentation are gilded, giving the helmet, with all its silver, gold, and iron components, a polychrome appearance. The ear guards encroach slightly on the bottom design, suggesting that it was not created specifically for the helmet.The face mask is made of iron, and covered with a sheet of silver. The central hinge from which it hangs is made of three parts: an iron tube welded to the interior head piece with an exterior silver tube, a notched silver tube fixed to the face mask that envelops the first part, and a pin which passes through both and has a silver knob at each end. The mask is shaped in the form of a human face. Holes are drilled between the lips and as nostrils; the eyes each have a narrow slit, with three holes in a trefoil design, two round holes outside and a heart-shaped hole in the middle, underneath each eye to allow for a greater range of vision. These apparently were not enough, for a small and rudimentary notch was carved into each of the heart-shaped holes to increase the wearer's vision. The mask is approximately 2 millimetres thick, of which the silver, which is folded around both the edges and each hole to hold it to the iron, accounts for between .25 and .5 millimetres.Distinctive features cover the face mask. The nose is long and fleshy with a prominent bump, and extends high between the eyes. The cheekbones are low yet prominent, and the small mouth, which droops toward the sinister side, shows a thick lower lip. Other featuresthe eyes and eyebrows, and the chinare more conventional. The distinctive features suggest that the maker of the Emesa helmet attempted to translate some of the individual characteristics of the wearer's face into the helmet.
[EX A]: What is the name of the helmet given a polychrome appearance by portions of the gilded bottom ornamentation as well as all its silver, gold, and iron components?

[EX Q]: Passage: Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Felix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Theophile Silvestre's description of Ingres; "There he was squarely seated in an armchair, motionless as an Egyptian god carved of granite, his hands stretched wide over parallel knees, his torso stiff, his head haughty". Some compared it to Balthasar Denner, a German realist painter influenced by Jan van Eyck. Denner, in the words of Ingres scholar Robert Rosenblum, "specialised in recording every last line on the faces of aged men and women, and even reflections of windows in their eyes." The comparison was made by Ingres' admirers and detractors alike. In 1833, Louis de Maynard of the College-lycee Ampere, writing in the influential L'Europe litteraire, dismissed Denner as a weak painter concerned with hyperrealistic "curiosities", and said that both he and Ingres fell short of the "sublime productions of Ingres' self-proclaimed hero, Raphael."The following year Ingres sought to capitalise on the success of his Bertin portrait. He showed his ambitious history painting The Martyrdom of Saint Symphorian at the 1834 Salon, but it was harshly criticised; even Ingres' admirers offered only faint praise. Offended and frustrated, Ingres declared he would disown the Salon, abandon his residence in Paris for Rome, and relinquish all current positions, ending his role in public life. This petulance was not to last.Bertin bequeathed the portrait to his daughter Louise (18051877) on his death. She passed it to her niece Marie-Louise-Sophie Bertin (18361893) wife of Jules Bapst, a later director of the Journal des debats. They bequeathed it to their niece Cecile Bapst, its last private owner. In 1897 Cecile sold it to the Musee du Louvre for 80,000 francs.
[EX A]:
What was critic Felix Tournachon describing when he said "antastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!"?