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.

Q: Passage: The Rashtrakutas contributed much to the architectural heritage of the Deccan. Art historian Adam Hardy categorizes their building activity into three schools: Ellora, around Badami, Aihole and Pattadakal, and at Sirval near Gulbarga.
The Rashtrakuta contributions to art and architecture are reflected in the splendid rock-cut cave temples at Ellora and Elephanta, areas also occupied by Jain monks, located in present-day Maharashtra. The Ellora site was originally part of a complex of 34 Buddhist caves probably created in the first half of the 6th century whose structural details show Pandyan influence. Cave temples occupied by Hindus are from later periods.The Rashtrakutas renovated these Buddhist caves and re-dedicated the rock-cut shrines. Amoghavarsha I espoused Jainism and there are five Jain cave temples at Ellora ascribed to his period. The most extensive and sumptuous of the Rashtrakuta works at Ellora is their creation of the monolithic Kailasanath Temple, a splendid achievement confirming the "Balhara" status as "one among the four principal Kings of the world". The walls of the temple have marvellous sculptures from Hindu mythology including Ravana, Shiva and Parvathi while the ceilings have paintings.
The Kailasanath Temple project was commissioned by King Krishna I after the Rashtrakuta rule had spread into South India from the Deccan. The architectural style used is Karnata Dravida according to Adam Hardy. It does not contain any of the Shikharas common to the Nagara style and was built on the same lines as the Virupaksha temple at Pattadakal in Karnataka. According to art historian Vincent Smith, the achievement at the Kailasanath temple is considered an architectural consummation of the monolithic rock-cut temple and deserves to be considered one of the wonders of the world. According to art historian Percy Brown, as an accomplishment of art, the Kailasanath temple is considered an unrivalled work of rock architecture, a monument that has always excited and astonished travellers.While some scholars have claimed the architecture at Elephanta is attributable to the Kalachuri, others claim that it was built during the Rashtrakuta period. Some of the sculptures such as Nataraja and Sadashiva excel in beauty and craftsmanship even that of the Ellora sculptures. Famous sculptures at Elephanta include Ardhanarishvara and Maheshamurthy. The latter, a three faced bust of Lord Shiva, is 25 feet (8 m) tall and considered one of the finest pieces of sculpture in India. It is said that, in the world of sculpture, few works of art depicting a divinity are as balanced. Other famous rock-cut temples in the Maharashtra region are the Dhumer Lena and Dashvatara cave temples in Ellora (famous for its sculptures of Vishnu and Shivaleela) and the Jogeshvari temple near Mumbai.

A: What are the names of the three school Hardy categorizes the Rashtrakutas building activity as?
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Q: Passage: The open waters are inhabited by fishes, molluscs and crustaceans living on sea grasses or who prey on each other. The shallowness of the lagoon makes it suitable habitat for diving birds such as anhinga, cormorants and diving ducks. The bay also provides habitat for juvenile sea animals that have left the shelter of the mangrove belts. Manatees frequent the quiet waters of the bay. The bay has a year-round population of double-crested cormorants. Winter residents include northern gannets, American white pelicans and common loons. The bay also has a resident population of common bottlenose dolphins.Biscayne Bay is a shallow lagoon with little vertical density or salinity gradient due to its lack of depth. Instead of a vertical gradient, the bay shows a horizontal density gradient, with fresh water entering from the drainage canals on the west side and seawater entering through gaps in the keys and through the safety valve section of shoals. Bay salinity reaches a peak in June. Changes in the salinity pattern of the bay have had negative effects on formerly abundant species such as red drum. Biscayne Bay and Florida Bay are major nurseries for red grouper and gray snapper. The bottom of the lagoon hosts sponges and soft corals in places where grasses cannot not grow. Three primary species of seagrass are found in the park: turtlegrass, shoal grass and manatee grass. The endangered Johnson's seagrass is also found in small quantities in the bay, which is at the southern end of the grass's range. Roughly 75 percent of the central bay floor is covered by grasses. Scarring of seagrass beds by vessel groundings or propellers is a significant problem. About 200 such incidents are documented each year, with full re-growth requiring up to 15 years. The bay is also affected by commercial shrimp trawling, which is permitted in park waters. The passage of roller-frame trawl nets does not harm grasses, but damages soft corals and sponges.

A: What is the name of the entity that provides habitat for juvenile sea animals that have left the shelter of the mangrove belts?
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Q: Passage: Van der Weyden's depiction of the Magdalen is based on Mary of Bethany, identified by the time of Pope Gregory I as the repentant prostitute of Luke 7:3650. She then became associated with weeping and reading: Christ's mercy causes the eyes of the sinner to be contrite or tearful. Early Renaissance artists often conveyed this idea by portraying contemplative eyes, associating tears with words, and in turn weeping with reading. Examples can be seen in 16th-century works by Tintoretto and Titian which show the Magdalen reading, often with her eyes averted towards her book (and presumably away from a male gaze), or looking up to the heavens or, sometimes, glancing coyly towards the viewer. Writing in "The Crying Face", Mosche Barasch explains that in van der Weyden's time the gesture of averting or concealing the eyes became a "pictorial formula for crying".
By the medieval period, reading became synonymous with devotion, which involved withdrawal from public view. Van der Weyden's placement of the Magdalen in an interior scene reflects the increasing literacy of domestic or laywomen in the mid-15th century. The increased production of devotional texts showed that noble women of the period routinely read texts such as a psalter or book of hours in the privacy of their homes. Whether the Magdalen herself was a reader, by the 17th century she was firmly established as such in the visual arts. Because the Magdalen was present at Christ's death and subsequent resurrection, she was seen as the bearer of newsa witnessand hence directly associated with the text.The Magdalen imagery further draws on the idea of Christ as the word, represented by a book, with the Magdalen as the reader learning of her own life story in a moment of reflection and repentance. Her devotion to reading reflects her traditional status as the piously repentant harlot, as well as a prophetess or seer. According to legend, the Magdalen lived the last 30 years of her life as a hermit in Sainte-Baume and is often shown with a book, reading or writing, symbolizing her later years of contemplation and repentance. By the 13th century she acquired the imagery of a once-shamed woman who, clothed in long hair, now hid her nakedness in exile and "borne by angels, floats between heaven and earth".The Magdalen's ointment jar was common in the lexicon of art in van der Weyden's period. Mary of Bethany may have used a jar when she repented of her sins at Christ's feet in her home; by the Renaissance, the image of the Magdalen was of the woman who bathed Christ's feet with her tears and dried them with her hair. She signified the "sacrament of anointing (Chrism and Unction)" by pouring precious spikenard on Christ's feet at his tomb.

A:
What is the first name of the Magdalen who became associated with weeping and reading?
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