Question:
Passage: Taylor Alison Swift (born December 13, 1989) is an American singer-songwriter. As one of the world's leading contemporary recording artists, she is known for narrative songs about her personal life, which have received widespread media coverage.
Born and raised in Pennsylvania, Swift moved to Nashville, Tennessee, at the age of 14 to pursue a career in country music. She signed with the label Big Machine Records and became the youngest artist ever signed by the Sony/ATV Music publishing house. Her 2006 self-titled debut album peaked at number five on the Billboard 200 and spent the most weeks on the chart in the 2000s. The album's third single, "Our Song", made her the youngest person to single-handedly write and perform a number-one song on the Hot Country Songs chart. Swift's second album, Fearless, was released in 2008. Buoyed by the success of pop crossover singles "Love Story" and "You Belong with Me", Fearless became the best-selling album of 2009 in the US. The album won four Grammy Awards, with Swift becoming the youngest Album of the Year winner.
Swift was the sole writer of her 2010 album, Speak Now. It debuted at number one in the United States and the single "Mean" won two Grammy Awards. Her fourth album, Red (2012), yielded the successful singles "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble". For her fifth album, the pop-focused 1989 (2014), she received three Grammys, and became the first woman and fifth act overall to win Album of the Year twice. Its singles "Shake It Off", "Blank Space", and "Bad Blood" reached number one in the US, Australia, and Canada. Swift's sixth album, Reputation (2017) and its lead single "Look What You Made Me Do" topped the UK and US charts; with the former, she became the first act to have four albums sell one million copies within one week in the US.
Swift is one of the best-selling music artists of all time, having sold more than 50 million albums—including 27.8 million in the US—and 150 million single downloads. As a songwriter, she has received awards from the Nashville Songwriters Association and the Songwriters Hall of Fame, and was included in Rolling Stone's 100 Greatest Songwriters of All Time in 2015. She is also the recipient of 10 Grammys, one Emmy, 23 Billboard Music Awards, and 12 Country Music Association Awards, and she holds six Guinness World Records. She is one of twelve women to appear in Time's 100 most influential people in the world at least three times (2010, 2015, 2019), and Forbes' lists of top-earning women in music (2011–2015), 100 most powerful women (2015), and Celebrity 100 (2016). Her inclusion in the third of these made her the youngest woman on the list, and she ranked first in Celebrity 100.
Question: What is the last name of the person who is one of the world's leading contemporary recording artists?

Passage: Taylor Alison Swift (born December 13, 1989) is an American singer-songwriter. As one of the world's leading contemporary recording artists, she is known for narrative songs about her personal life, which have received widespread media coverage.
Born and raised in Pennsylvania, Swift moved to Nashville, Tennessee, at the age of 14 to pursue a career in country music. She signed with the label Big Machine Records and became the youngest artist ever signed by the Sony/ATV Music publishing house. Her 2006 self-titled debut album peaked at number five on the Billboard 200 and spent the most weeks on the chart in the 2000s. The album's third single, "Our Song", made her the youngest person to single-handedly write and perform a number-one song on the Hot Country Songs chart. Swift's second album, Fearless, was released in 2008. Buoyed by the success of pop crossover singles "Love Story" and "You Belong with Me", Fearless became the best-selling album of 2009 in the US. The album won four Grammy Awards, with Swift becoming the youngest Album of the Year winner.
Swift was the sole writer of her 2010 album, Speak Now. It debuted at number one in the United States and the single "Mean" won two Grammy Awards. Her fourth album, Red (2012), yielded the successful singles "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble". For her fifth album, the pop-focused 1989 (2014), she received three Grammys, and became the first woman and fifth act overall to win Album of the Year twice. Its singles "Shake It Off", "Blank Space", and "Bad Blood" reached number one in the US, Australia, and Canada. Swift's sixth album, Reputation (2017) and its lead single "Look What You Made Me Do" topped the UK and US charts; with the former, she became the first act to have four albums sell one million copies within one week in the US.
Swift is one of the best-selling music artists of all time, having sold more than 50 million albums—including 27.8 million in the US—and 150 million single downloads. As a songwriter, she has received awards from the Nashville Songwriters Association and the Songwriters Hall of Fame, and was included in Rolling Stone's 100 Greatest Songwriters of All Time in 2015. She is also the recipient of 10 Grammys, one Emmy, 23 Billboard Music Awards, and 12 Country Music Association Awards, and she holds six Guinness World Records. She is one of twelve women to appear in Time's 100 most influential people in the world at least three times (2010, 2015, 2019), and Forbes' lists of top-earning women in music (2011–2015), 100 most powerful women (2015), and Celebrity 100 (2016). Her inclusion in the third of these made her the youngest woman on the list, and she ranked first in Celebrity 100.
Question: What is the last name of the person who is known for narrative songs about her personal life?

Passage: Taylor Alison Swift was born on December 13, 1989, in Reading, Pennsylvania. Her father, Scott Kingsley Swift, was a stockbroker for Merrill Lynch, and her mother, Andrea Gardner Swift (née Finlay), was a homemaker who had worked as a mutual fund marketing executive. Swift was named after the American singer-songwriter James Taylor. She has a younger brother named Austin, who is an actor. Swift spent the early years of her life on a Christmas tree farm which her father purchased from one of his clients. She attended preschool and kindergarten at the Alvernia Montessori School, run by Franciscan nuns, before transferring to The Wyndcroft School. The family then moved to a rented house in the suburban town of Wyomissing, Pennsylvania, where she attended Wyomissing Area Junior/Senior High School.At the age of nine, Swift became interested in musical theater and performed in four Berks Youth Theatre Academy productions. She also traveled regularly to New York City for vocal and acting lessons. Swift later shifted her focus toward country music inspired by Shania Twain's songs, which made her "want to just run around the block four times and daydream about everything". She spent her weekends performing at local festivals and events. After watching a documentary about Faith Hill, Swift felt sure that she needed to go to Nashville, Tennessee, to pursue a music career. At the age of eleven, she traveled with her mother to visit Nashville record labels and submitted a demo tape of Dolly Parton and Dixie Chicks karaoke covers. However, she was rejected since "everyone in that town wanted to do what I wanted to do. So, I kept thinking to myself, I need to figure out a way to be different".When Swift was about 12 years old, computer repairman and local musician Ronnie Cremer taught her how to play guitar and helped with her first efforts as a songwriter, leading to her writing "Lucky You". In 2003, Swift and her parents started working with New York-based music manager Dan Dymtrow. With his help, Swift modelled for Abercrombie & Fitch as part of their "Rising Stars" campaign, had an original song included on a Maybelline compilation CD, and attended meetings with major record labels. After performing original songs at an RCA Records showcase, Swift was given an artist development deal and began making frequent trips to Nashville with her mother.To help Swift break into country music, her father transferred to the Nashville office of Merrill Lynch when she was 14, and the family relocated to a lakefront house in Hendersonville, Tennessee. Swift attended Hendersonville High School, but after two years transferred to the Aaron Academy, which through homeschooling could accommodate her touring schedule, and she graduated a year early.
Question: What is the full name of the repairman who taught the artist who's younger brother is Austin how to play guitar?

Instruction: 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.


Question:
Passage: Sergio is a Toronto pastry shop assistant who is smitten with Hattie, a mousy girl who works in her father Perry's diner and refuses to consider a relationship with him until he begins to earn a decent living. An opportunity presents itself when Linzer, Sergio's employer, offers him $20,000 to torch the store so he can collect the insurance money and use it to give his wife the lifestyle he feels she deserves. Sergio declines the offer, but one night the bakery is burnt to the ground anyway.
Sergio is offered $25,000 to take the blame by the millionaire father of the real culprit, the mentally unstable Garet, who set the bakery on fire as a public declaration of his love for his society girlfriend Stephanie, whose attraction to Sergio, unbeknownst to her vengeance-seeking beau, is unrequited. Despite his innocence, Sergio claims responsibility for the fire so he can use the money to claim Hattie as his own. Linzer, however, has second thoughts about allowing Sergio to pay for the crime, so he confesses he did it, while his wife insists she set the blaze to prevent her husband from being imprisoned. Sgt. Zikowski is left to determine who of the four claiming guilt is the real perpetrator.
Question: Who burned down Linzer's shop?

Passage: Sergio is a Toronto pastry shop assistant who is smitten with Hattie, a mousy girl who works in her father Perry's diner and refuses to consider a relationship with him until he begins to earn a decent living. An opportunity presents itself when Linzer, Sergio's employer, offers him $20,000 to torch the store so he can collect the insurance money and use it to give his wife the lifestyle he feels she deserves. Sergio declines the offer, but one night the bakery is burnt to the ground anyway.
Sergio is offered $25,000 to take the blame by the millionaire father of the real culprit, the mentally unstable Garet, who set the bakery on fire as a public declaration of his love for his society girlfriend Stephanie, whose attraction to Sergio, unbeknownst to her vengeance-seeking beau, is unrequited. Despite his innocence, Sergio claims responsibility for the fire so he can use the money to claim Hattie as his own. Linzer, however, has second thoughts about allowing Sergio to pay for the crime, so he confesses he did it, while his wife insists she set the blaze to prevent her husband from being imprisoned. Sgt. Zikowski is left to determine who of the four claiming guilt is the real perpetrator.
Question: Who owns the bakery?

Passage: By the time of the third plate, Tom Nero has progressed from the mistreatment of animals to theft and murder. Having encouraged his pregnant lover, Ann Gill, to rob and leave her mistress, he murders the girl when she meets him. The murder is shown to be particularly brutal: her neck, wrist, and index finger are almost severed. Her trinket box and the goods she had stolen lie on the ground beside her, and the index finger of her partially severed hand points to the words "God's Revenge against Murder" written on a book that, along with the Book of Common Prayer, has fallen from the box. A woman searching Nero's pockets uncovers pistols, a number of pocket watches—evidence of his having turned to highway robbery (as Tom Idle did in Industry and Idleness),  and a letter from Ann Gill which reads:
Dear TommyMy mistress has been the best of women to me, and my conscience flies in my face as often as I think of wronging her; yet I am resolved to venture body and soul to do as you would have me, so do not fail to meet me as you said you would, for I will bring along with me all the things I can lay my hands on. So no more at present; but I remain yours till death. Ann Gill.
The spelling is perfect and while this is perhaps unrealistic, Hogarth deliberately avoids any chance of the scene becoming comical. A discarded envelope is addressed "To Thos Nero at Pinne...". Ronald Paulson sees a parallel between the lamb beaten to death in the Second Stage and the defenceless girl murdered here. Below the print, the text claims that Nero, if not repentant, is at least stunned by his actions:
Various features in the print are meant to intensify the feelings of dread: the murder takes place in a graveyard, said to be St Pancras but suggested by John Ireland to resemble Marylebone; an owl and a bat fly around the scene; the moon shines down on the crime; the clock strikes one for the end of the witching hour. The composition of the image may allude to Anthony van Dyck's The Arrest of Christ. A lone Good Samaritan appears again: among the snarling faces of Tom's accusers, a single face looks to the heavens in pity.
In the alternative image for this stage, produced as a woodcut by Bell, Tom is shown with his hands free. There are also differences in the wording of the letter and some items, like the lantern and books, are larger and simpler while others, such as the man to the left of Tom and the topiary bush, have been removed. The owl has become a winged hourglass on the clock tower.
Question: What were the items a woman found while searching Nero's pockets?

Instruction: 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.


Question:
Passage: James Barton Longacre (August 11, 1794 – January 1, 1869) was an American portraitist and engraver, and the fourth Chief Engraver of the United States Mint from 1844 until his death. Longacre is best known for designing the Indian Head cent, which entered commerce in 1859, and for the designs of the Shield nickel, Flying Eagle cent and other coins of the mid-19th century.
Longacre was born in Delaware County, Pennsylvania, in 1794. He ran away to Philadelphia at age 12, where he became an apprentice in a bookstore. His artistic talent developed and he was released to apprentice in an engraving firm.  He struck out on his own in 1819, making a name providing illustrations for popular biographical books. He portrayed the leading men of his day; support from some of them, such as South Carolina Senator John C. Calhoun, led to his appointment as chief engraver after the death of Christian Gobrecht in 1844.
In Longacre's first years as a chief engraver, the Philadelphia Mint was dominated by Mint Director Robert M. Patterson and Chief Coiner Franklin Peale. Conflict between Longacre and the two men developed after Congress ordered a new gold dollar and double eagle, with both to be designed by Longacre.  Peale and Patterson nearly had Longacre fired, but the chief engraver was able to convince Treasury Secretary William M. Meredith that he should be retained.  Both Patterson and Peale left the Mint in the early 1850s, ending the conflict.
In 1856, Longacre designed the Flying Eagle cent. When that design proved difficult to strike, Longacre was responsible for the replacement, the Indian Head cent, issued beginning in 1859. Other coins designed by Longacre include the silver and nickel three-cent pieces, the Shield nickel, the pattern Washington nickel, and the two-cent piece.  In 1866–1867, he redesigned the coins of Chile. Longacre died suddenly on New Year's Day 1869; he was succeeded by William Barber.  Longacre's coins are generally well-regarded today, although they have been criticized for lack of artistic advancement.
Question: What is the last name of the person who made a name providing illustrations for popular biographical books?

Passage: James Barton Longacre (August 11, 1794 – January 1, 1869) was an American portraitist and engraver, and the fourth Chief Engraver of the United States Mint from 1844 until his death. Longacre is best known for designing the Indian Head cent, which entered commerce in 1859, and for the designs of the Shield nickel, Flying Eagle cent and other coins of the mid-19th century.
Longacre was born in Delaware County, Pennsylvania, in 1794. He ran away to Philadelphia at age 12, where he became an apprentice in a bookstore. His artistic talent developed and he was released to apprentice in an engraving firm.  He struck out on his own in 1819, making a name providing illustrations for popular biographical books. He portrayed the leading men of his day; support from some of them, such as South Carolina Senator John C. Calhoun, led to his appointment as chief engraver after the death of Christian Gobrecht in 1844.
In Longacre's first years as a chief engraver, the Philadelphia Mint was dominated by Mint Director Robert M. Patterson and Chief Coiner Franklin Peale. Conflict between Longacre and the two men developed after Congress ordered a new gold dollar and double eagle, with both to be designed by Longacre.  Peale and Patterson nearly had Longacre fired, but the chief engraver was able to convince Treasury Secretary William M. Meredith that he should be retained.  Both Patterson and Peale left the Mint in the early 1850s, ending the conflict.
In 1856, Longacre designed the Flying Eagle cent. When that design proved difficult to strike, Longacre was responsible for the replacement, the Indian Head cent, issued beginning in 1859. Other coins designed by Longacre include the silver and nickel three-cent pieces, the Shield nickel, the pattern Washington nickel, and the two-cent piece.  In 1866–1867, he redesigned the coins of Chile. Longacre died suddenly on New Year's Day 1869; he was succeeded by William Barber.  Longacre's coins are generally well-regarded today, although they have been criticized for lack of artistic advancement.
Question: What is the last name of the person who was supported by John C. Calhoun?

Passage: James Barton Longacre (August 11, 1794 – January 1, 1869) was an American portraitist and engraver, and the fourth Chief Engraver of the United States Mint from 1844 until his death. Longacre is best known for designing the Indian Head cent, which entered commerce in 1859, and for the designs of the Shield nickel, Flying Eagle cent and other coins of the mid-19th century.
Longacre was born in Delaware County, Pennsylvania, in 1794. He ran away to Philadelphia at age 12, where he became an apprentice in a bookstore. His artistic talent developed and he was released to apprentice in an engraving firm.  He struck out on his own in 1819, making a name providing illustrations for popular biographical books. He portrayed the leading men of his day; support from some of them, such as South Carolina Senator John C. Calhoun, led to his appointment as chief engraver after the death of Christian Gobrecht in 1844.
In Longacre's first years as a chief engraver, the Philadelphia Mint was dominated by Mint Director Robert M. Patterson and Chief Coiner Franklin Peale. Conflict between Longacre and the two men developed after Congress ordered a new gold dollar and double eagle, with both to be designed by Longacre.  Peale and Patterson nearly had Longacre fired, but the chief engraver was able to convince Treasury Secretary William M. Meredith that he should be retained.  Both Patterson and Peale left the Mint in the early 1850s, ending the conflict.
In 1856, Longacre designed the Flying Eagle cent. When that design proved difficult to strike, Longacre was responsible for the replacement, the Indian Head cent, issued beginning in 1859. Other coins designed by Longacre include the silver and nickel three-cent pieces, the Shield nickel, the pattern Washington nickel, and the two-cent piece.  In 1866–1867, he redesigned the coins of Chile. Longacre died suddenly on New Year's Day 1869; he was succeeded by William Barber.  Longacre's coins are generally well-regarded today, although they have been criticized for lack of artistic advancement.
Question: What is the full name of the person that was the Chief Engraver of the United States Mint before James Barton Longacre?

Instruction: 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.


Question:
Passage: The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (1636–1695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit of Queen Adelaide, widow of William IV, when its former function as a state bedroom was resurrected. It contains the great canopied Rococo-style bed in which the Queen slept, complete with the royal monogram "AR" (Adelaide Regina) embroidered on the bedhead. Other rooms on the second floor are mostly bedrooms, which include the Chinese Room (directly above the Tyrconnel Room) with its original hand-painted 18th-century Chinese wallpaper, the Yellow Room (directly above the Blue Room), and the Windsor Bedroom (directly above the School Room), so called following its use by King Edward VIII of the United Kingdom, who became the Duke of Windsor after the abdication crisis of 1936. Edward visited Belton in the 1930s with his mistress Wallis Simpson, and the 6th Baron Brownlow was heavily involved in the crisis thanks to his position as the King's Lord-in-waiting. Today, Belton has a permanent exhibition devoted to that event. Another royal visitor, Charles, Prince of Wales, also used the room frequently while a cadet at nearby RAF Cranwell.
Question: What was the full name of the person who first removed all traces of Carolean decoration when the Great Dining Room was transformed into a drawing room?

Passage: The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (1636–1695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit of Queen Adelaide, widow of William IV, when its former function as a state bedroom was resurrected. It contains the great canopied Rococo-style bed in which the Queen slept, complete with the royal monogram "AR" (Adelaide Regina) embroidered on the bedhead. Other rooms on the second floor are mostly bedrooms, which include the Chinese Room (directly above the Tyrconnel Room) with its original hand-painted 18th-century Chinese wallpaper, the Yellow Room (directly above the Blue Room), and the Windsor Bedroom (directly above the School Room), so called following its use by King Edward VIII of the United Kingdom, who became the Duke of Windsor after the abdication crisis of 1936. Edward visited Belton in the 1930s with his mistress Wallis Simpson, and the 6th Baron Brownlow was heavily involved in the crisis thanks to his position as the King's Lord-in-waiting. Today, Belton has a permanent exhibition devoted to that event. Another royal visitor, Charles, Prince of Wales, also used the room frequently while a cadet at nearby RAF Cranwell.
Question: What was the name of the person who used the Windsor Bedroom while they were a cadet at RAF cranwell?

Passage: The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (1636–1695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit of Queen Adelaide, widow of William IV, when its former function as a state bedroom was resurrected. It contains the great canopied Rococo-style bed in which the Queen slept, complete with the royal monogram "AR" (Adelaide Regina) embroidered on the bedhead. Other rooms on the second floor are mostly bedrooms, which include the Chinese Room (directly above the Tyrconnel Room) with its original hand-painted 18th-century Chinese wallpaper, the Yellow Room (directly above the Blue Room), and the Windsor Bedroom (directly above the School Room), so called following its use by King Edward VIII of the United Kingdom, who became the Duke of Windsor after the abdication crisis of 1936. Edward visited Belton in the 1930s with his mistress Wallis Simpson, and the 6th Baron Brownlow was heavily involved in the crisis thanks to his position as the King's Lord-in-waiting. Today, Belton has a permanent exhibition devoted to that event. Another royal visitor, Charles, Prince of Wales, also used the room frequently while a cadet at nearby RAF Cranwell.
Question: What was the name of Williams IV's widow?

Instruction: 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.


Question:
Passage: In 1870, concerned at the dominance of German music and the lack of opportunity for young French composers to have their works played, Saint-Saëns and Romain Bussine, professor of singing at the Conservatoire, discussed the founding of a society to promote new French music. Before they could take the proposal further, the Franco-Prussian War broke out. Saint-Saëns served in the National Guard during the war. During the brief but bloody Paris Commune that followed, his superior at the Madeleine, the Abbé Deguerry, was murdered by rebels; Saint-Saëns was fortunate to escape to temporary exile in England where he arrived in May 1871. With the help of George Grove and others he supported himself while there, giving recitals. Returning to Paris in the same year, he found that anti-German sentiments had considerably enhanced support for the idea of a pro-French musical society. The Société Nationale de Musique, with its motto, "Ars Gallica", had been established in February 1871, with Bussine as president, Saint-Saëns as vice-president and Henri Duparc, Fauré, Franck and Jules Massenet among its founder-members.
As an admirer of Liszt's innovative symphonic poems, Saint-Saëns enthusiastically adopted the form; his first "poème symphonique" was Le Rouet d'Omphale (1871), premiered at a concert of the Sociéte Nationale in January 1872. In the same year, after more than a decade of intermittent work on operatic scores, Saint-Saëns finally had one of his operas staged. La princesse jaune ("The Yellow Princess"), a one-act, light romantic piece, was given at the Opéra-Comique, Paris in June. It ran for five performances.Throughout the 1860s and early 1870s, Saint-Saëns had continued to live a bachelor existence, sharing a large fourth-floor flat in the Rue du Faubourg Saint-Honoré with his mother. In 1875, he surprised many by marrying. The groom was approaching forty and his bride was nineteen; she was Marie-Laure Truffot, the sister of one of the composer's pupils. The marriage was not a success. In the words of the biographer Sabina Teller Ratner, "Saint-Saëns's mother disapproved, and her son was difficult to live with". Saint-Saëns and his wife moved to the Rue Monsieur-le-Prince, in the Latin Quarter; his mother moved with them. The couple had two sons, both of whom died in infancy. In 1878, the elder, André, aged two, fell from a window of the flat and was killed; the younger, Jean-François, died of pneumonia six weeks later, aged six months. Saint-Saëns and Marie-Laure continued to live together for three years, but he blamed her for André's accident; the double blow of their loss effectively destroyed the marriage.
Question: What were the last names of the The Société Nationale de Musique founding members?

Passage: In 1870, concerned at the dominance of German music and the lack of opportunity for young French composers to have their works played, Saint-Saëns and Romain Bussine, professor of singing at the Conservatoire, discussed the founding of a society to promote new French music. Before they could take the proposal further, the Franco-Prussian War broke out. Saint-Saëns served in the National Guard during the war. During the brief but bloody Paris Commune that followed, his superior at the Madeleine, the Abbé Deguerry, was murdered by rebels; Saint-Saëns was fortunate to escape to temporary exile in England where he arrived in May 1871. With the help of George Grove and others he supported himself while there, giving recitals. Returning to Paris in the same year, he found that anti-German sentiments had considerably enhanced support for the idea of a pro-French musical society. The Société Nationale de Musique, with its motto, "Ars Gallica", had been established in February 1871, with Bussine as president, Saint-Saëns as vice-president and Henri Duparc, Fauré, Franck and Jules Massenet among its founder-members.
As an admirer of Liszt's innovative symphonic poems, Saint-Saëns enthusiastically adopted the form; his first "poème symphonique" was Le Rouet d'Omphale (1871), premiered at a concert of the Sociéte Nationale in January 1872. In the same year, after more than a decade of intermittent work on operatic scores, Saint-Saëns finally had one of his operas staged. La princesse jaune ("The Yellow Princess"), a one-act, light romantic piece, was given at the Opéra-Comique, Paris in June. It ran for five performances.Throughout the 1860s and early 1870s, Saint-Saëns had continued to live a bachelor existence, sharing a large fourth-floor flat in the Rue du Faubourg Saint-Honoré with his mother. In 1875, he surprised many by marrying. The groom was approaching forty and his bride was nineteen; she was Marie-Laure Truffot, the sister of one of the composer's pupils. The marriage was not a success. In the words of the biographer Sabina Teller Ratner, "Saint-Saëns's mother disapproved, and her son was difficult to live with". Saint-Saëns and his wife moved to the Rue Monsieur-le-Prince, in the Latin Quarter; his mother moved with them. The couple had two sons, both of whom died in infancy. In 1878, the elder, André, aged two, fell from a window of the flat and was killed; the younger, Jean-François, died of pneumonia six weeks later, aged six months. Saint-Saëns and Marie-Laure continued to live together for three years, but he blamed her for André's accident; the double blow of their loss effectively destroyed the marriage.
Question: What was the full name of the sister of one of Saint-Saëns' pupils?

Passage: In 1870, concerned at the dominance of German music and the lack of opportunity for young French composers to have their works played, Saint-Saëns and Romain Bussine, professor of singing at the Conservatoire, discussed the founding of a society to promote new French music. Before they could take the proposal further, the Franco-Prussian War broke out. Saint-Saëns served in the National Guard during the war. During the brief but bloody Paris Commune that followed, his superior at the Madeleine, the Abbé Deguerry, was murdered by rebels; Saint-Saëns was fortunate to escape to temporary exile in England where he arrived in May 1871. With the help of George Grove and others he supported himself while there, giving recitals. Returning to Paris in the same year, he found that anti-German sentiments had considerably enhanced support for the idea of a pro-French musical society. The Société Nationale de Musique, with its motto, "Ars Gallica", had been established in February 1871, with Bussine as president, Saint-Saëns as vice-president and Henri Duparc, Fauré, Franck and Jules Massenet among its founder-members.
As an admirer of Liszt's innovative symphonic poems, Saint-Saëns enthusiastically adopted the form; his first "poème symphonique" was Le Rouet d'Omphale (1871), premiered at a concert of the Sociéte Nationale in January 1872. In the same year, after more than a decade of intermittent work on operatic scores, Saint-Saëns finally had one of his operas staged. La princesse jaune ("The Yellow Princess"), a one-act, light romantic piece, was given at the Opéra-Comique, Paris in June. It ran for five performances.Throughout the 1860s and early 1870s, Saint-Saëns had continued to live a bachelor existence, sharing a large fourth-floor flat in the Rue du Faubourg Saint-Honoré with his mother. In 1875, he surprised many by marrying. The groom was approaching forty and his bride was nineteen; she was Marie-Laure Truffot, the sister of one of the composer's pupils. The marriage was not a success. In the words of the biographer Sabina Teller Ratner, "Saint-Saëns's mother disapproved, and her son was difficult to live with". Saint-Saëns and his wife moved to the Rue Monsieur-le-Prince, in the Latin Quarter; his mother moved with them. The couple had two sons, both of whom died in infancy. In 1878, the elder, André, aged two, fell from a window of the flat and was killed; the younger, Jean-François, died of pneumonia six weeks later, aged six months. Saint-Saëns and Marie-Laure continued to live together for three years, but he blamed her for André's accident; the double blow of their loss effectively destroyed the marriage.
Question: What was the name of the person who supported himself in England?

Instruction: 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.


Question:
Passage: In 2012, Gaga launched the Born This Way Foundation (BTWF), a non-profit organization that focuses on youth empowerment. It takes its name from her 2011 single and album. Media proprietor Oprah Winfrey, writer Deepak Chopra, and US Secretary of Health and Human Services Kathleen Sebelius spoke at the foundation's inauguration at Harvard University. The foundation's original funding included $1.2 million from Gaga, $500,000 from the MacArthur Foundation, and $850,000 from Barneys New York. In July 2012, the BTWF partnered with Office Depot, which donated 25% of the sales, a minimum of $1 million of a series of limited edition back-to-school products. The foundation's initiatives have included the "Born Brave Bus" that followed her on tour as a youth drop-in center as an initiative against bullying.In October 2015, at the Yale Center for Emotional Intelligence, Gaga joined 200 high school students, policy makers, and academic officials, including Peter Salovey, to discuss ways to recognize and channel emotions for positive outcomes. In 2016, the foundation partnered with Intel, Vox Media, and Re/code to fight online harassment. The sales revenue of the 99th issue of the V magazine, which featured Gaga and Kinney, was donated to the foundation. Gaga and Elton John released the clothing and accessories line Love Bravery at Macy's in May. 25% of each purchase support Gaga's foundation and the Elton John AIDS Foundation. Gaga partnered with Starbucks for a week in June 2017 with the "Cups of Kindness" campaign, where the company donated 25 cents from some of the beverages sold to the foundation. She also appeared in a video by Staples Inc. to raise funds for the foundation and DonorsChoose.org.On the 2018 World Kindness Day, Gaga partnered with the foundation to bring food and relief to a Red Cross shelter for people who have been forced to evacuate homes due to the California wildfires. The foundation also partnered with Starbucks and SoulCycle to thank California firefighters for their relief work during the crisis. The singer had to previously evacuate her own home during the Woolsey Fire which spread through parts of Malibu.
Question: What is the name of the person from whose 2011 single and album the Born This Way Foundations' name is taken?

Passage: In February 2015, Gaga became engaged to Taylor Kinney. After Artpop's lukewarm response, Gaga began to redo her image and style. According to Billboard, this shift started with the release of Cheek to Cheek and the attention she received for her performance at the 87th Academy Awards, where she sang a medley of songs from The Sound of Music in a tribute to Julie Andrews. Considered one of her best performances by Billboard, it triggered more than 214,000 interactions per minute globally on Facebook. She and Diane Warren co-wrote the song "Til It Happens to You" for the documentary The Hunting Ground, which earned them the Satellite Award for Best Original Song and an Academy Award nomination in the same category. Gaga won Billboard Woman of the Year and Contemporary Icon Award at the 2015 Annual Songwriters Hall of Fame Awards.Gaga had spent much of her early life wanting to be an actress, and achieved her goal when she starred in American Horror Story: Hotel. Running from October 2015 to January 2016, Hotel is the fifth season of the television anthology horror series, American Horror Story, in which Gaga played a hotel owner named Elizabeth. At the 73rd Golden Globe Awards, Gaga received the Best Actress in a Miniseries or Television Film award for her work on the season. She appeared in Nick Knight's 2015 fashion film for Tom Ford's 2016 spring campaign and was guest editor for V fashion magazine's 99th issue in January 2016, which featured 16 different covers. She received Editor of the Year award at the Fashion Los Angeles Awards.
Question: What is the name of the person who co-wrote the song "Til It Happens to You" with Diane Warren?

Passage: In February 2011, Gaga released "Born This Way", the lead single from her studio album of the same name. The song sold more than one million copies within five days, earning the Guinness World Record for the fastest selling single on iTunes. It debuted atop the Billboard Hot 100, becoming the 1,000th number-one single in the history of the charts. Its second single "Judas" followed two months later, and "The Edge of Glory" served as its third single. Both reached the top 10 in the US and the UK. Her music video for "The Edge of Glory", unlike her previous work, portrays her dancing on a fire escape and walking on a lonely street, without intricate choreography and back-up dancers.
Gaga hosted an episode of Saturday Night Live in November 2013, performing "Do What U Want" (with Kelly) and an album cut, "Gypsy". After holding her second Thanksgiving Day television special on ABC, Lady Gaga and the Muppets Holiday Spectacular, she performed a special rendition of "Do What U Want" with Christina Aguilera on the fifth season of the American reality talent show The Voice. In March 2014, Gaga had a seven-day concert residency commemorating the last performance at New York's Roseland Ballroom before its closure. Two months later, she embarked on the ArtRave: The Artpop Ball tour, building on concepts from her ArtRave promotional event. Earning $83 million, the tour included cities canceled from the Born This Way Ball tour itinerary. In the meantime, Gaga split from longtime manager Troy Carter over "creative differences", and by June 2014, she and new manager Bobby Campbell joined Artist Nation, the artist management division of Live Nation Entertainment. She briefly appeared in Rodriguez's Sin City: A Dame to Kill For, and was confirmed as Versace's spring-summer 2014 face with a campaign called "Lady Gaga For Versace".In September 2014, Gaga released a collaborative jazz album with Tony Bennett titled Cheek to Cheek. The inspiration behind the album came from her friendship with Bennett, and fascination with jazz music since her childhood. Before the album was released, it produced the singles "Anything Goes" and "I Can't Give You Anything but Love". Cheek to Cheek received generally favorable reviews; The Guardian's Caroline Sullivan praised Gaga's vocals and Howard Reich of the Chicago Tribune wrote that "Cheek to Cheek serves up the real thing, start to finish". The record was Gaga's third consecutive number-one album on the Billboard 200, and won a Grammy Award for Best Traditional Pop Vocal Album. The duo recorded the concert special Tony Bennett and Lady Gaga: Cheek to Cheek Live!, and embarked on the Cheek to Cheek Tour from December 2014 to August 2015.
Question: What is the full name of Lady Gaga's manager after she split with Troy Carter?

Instruction: 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.


Question:
Passage: Tex Hanlon is in charge of a wildly successful and mysterious advertising campaign for "The Three Springs".  People everywhere are curious what the ads refer to, and even Malcolm Tauber the head of the company Hanlon works for, is in the dark. It's revealed that Tauber's assistant (and Hanlon's girlfriend) Gwen Hughes has created some secret sketches of women's fashion for Tex that will be used in the final Three Springs ad.
However, other forces are at work. Attracted by the attention given the campaign, Renee Beauchamps asks for a chance to begin work with Hanlon. He agrees, but begins to receive threatening notes related to The Three Springs. A passing motorist, Julian Leighton, picks him up and offers him twenty-thousand dollars to spill the secret. Another wealthy man, Alexander Cardovsky, also asks for information. He's later pressured by two thugs, Mr. Warren and Bert to reveal everything. He buys a toy puppet from a poor woman, Jenny, and finds another note in the toy, asking him to meet her. When he does, he discovers Jenny has been murdered, and he's been set up to take the blame. However, Gwen can vouch for Hanlon's whereabouts at the time of the murder.
The next day Tauber is anxious to run the final Three Springs ad. He's upset when Hanlon balks, but grateful Hanlon kept The Three Springs campaign out of his conversation with the police. Hanlon tells Gwen they need to delay because he needs answers to force the criminals out in the open. Gwen convinces him otherwise and arranges to have the final proofs rushed from the printers that evening. Then Hanlon discovers that Renee has been writing the threatening notes, and she claims she'd hope to frighten him into working with her. Renee says she's being followed and must speak with him later. Gwen sees Renee kiss Hanlon goodbye and is furious.
Question: Who buys a toy puppet from a poor person?

Passage: Tex Hanlon is in charge of a wildly successful and mysterious advertising campaign for "The Three Springs".  People everywhere are curious what the ads refer to, and even Malcolm Tauber the head of the company Hanlon works for, is in the dark. It's revealed that Tauber's assistant (and Hanlon's girlfriend) Gwen Hughes has created some secret sketches of women's fashion for Tex that will be used in the final Three Springs ad.
However, other forces are at work. Attracted by the attention given the campaign, Renee Beauchamps asks for a chance to begin work with Hanlon. He agrees, but begins to receive threatening notes related to The Three Springs. A passing motorist, Julian Leighton, picks him up and offers him twenty-thousand dollars to spill the secret. Another wealthy man, Alexander Cardovsky, also asks for information. He's later pressured by two thugs, Mr. Warren and Bert to reveal everything. He buys a toy puppet from a poor woman, Jenny, and finds another note in the toy, asking him to meet her. When he does, he discovers Jenny has been murdered, and he's been set up to take the blame. However, Gwen can vouch for Hanlon's whereabouts at the time of the murder.
The next day Tauber is anxious to run the final Three Springs ad. He's upset when Hanlon balks, but grateful Hanlon kept The Three Springs campaign out of his conversation with the police. Hanlon tells Gwen they need to delay because he needs answers to force the criminals out in the open. Gwen convinces him otherwise and arranges to have the final proofs rushed from the printers that evening. Then Hanlon discovers that Renee has been writing the threatening notes, and she claims she'd hope to frighten him into working with her. Renee says she's being followed and must speak with him later. Gwen sees Renee kiss Hanlon goodbye and is furious.
Question: Who does the passing motorist pick up?

Passage: The film begins with self-help author Wes Wilson who has recently come out with his first best selling book. At the after-party, he meets up with an attractive woman named Samantha. They flirt, and he proposes publicly.  He introduces her to his agent, who tries to talk Wes into writing a sequel.  Wes dismisses the agent and takes Samantha to his car to leave the party early.  They are attacked in the parking lot, and Samantha is knocked out and kidnapped.
Time passes slowly for Wes, who is haunted by his inability to save her. At a book signing, however, Wes also encounters Nicole, a young woman who says she is a reporter. He goes to her house for an interview, and they bond, and he enters into a relationship with her. A few more months pass and Wes and Nicole become a happy couple.
Suddenly a mysterious man named Isaac who Wes had met before at the book signing, shows up and demands to know where some diamonds are. Wes runs away, and Isaac's main henchman Boone and another give chase. Wes is kidnapped as a result along with Nicole and Isaac orders him to go to some bank and empty the contents of a safety deposit box which could be the diamonds themselves. Wes finds a briefcase and then he and Nicole are released. To Isaac's surprise, there is only a stuffed toy in the briefcase and he resumes his hunt for the diamonds.
Eventually, Wes gets back to his apartment, only to find Samantha there to his shock and surprise. She apologizes and tells Wes she stole the diamonds from Isaac and that Isaac won't stop until they are dead and he has the diamonds but Wes is still heartbroken that she would betray him like that as he felt guilty for not being able to help her and believed that she was dead for so long. Samantha also tells him that Nicole wants the diamonds as well and tells him to meet her under a bridge. Just then, one of Isaac's henchmen shows up, and Samantha kills him after much effort. Wes is frightened, and leaves.
Question: What is the first name of the person who Wes visits at her house?

Instruction: 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.


Question:
Passage: In the second act of Tosca, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a gavotte is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering", according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, "[its] suave strains contrast[ing] dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the Cantata a Giove, in the literature referred to as a lost work of Puccini's from 1897.Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of grand guignol to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a middle C♯ monotone  (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.
Question: What is the name of the aria Puccini considered eliminating because it held up the action?

Passage: In the second act of Tosca, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a gavotte is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering", according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, "[its] suave strains contrast[ing] dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the Cantata a Giove, in the literature referred to as a lost work of Puccini's from 1897.Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of grand guignol to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a middle C♯ monotone  (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.
Question: What is the name of the aria Fisher describes as, "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously"?

Passage: Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani. Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry with Pope Clement XI.
Handel composed Agrippina at the end of a three-year sojourn in Italy. It premiered in Venice at the Teatro San Giovanni Grisostomo on 26 December 1709. It proved an immediate success and an unprecedented series of 27 consecutive performances followed. Observers praised  the quality of the music—much of which, in keeping with the contemporary custom, had been borrowed and adapted from other works, including the works of other composers. Despite the evident public enthusiasm for the work, Handel did not promote further stagings. There were occasional productions in the years following its premiere but Handel's operas, including Agrippina, fell out of fashion in the mid-18th century.
In the 20th century Agrippina was revived in Germany and premiered in Britain and America. Performances of the work have become ever more common, with innovative stagings at the New York City Opera and the London Coliseum in 2007. Modern critical opinion is that Agrippina is Handel's first operatic masterpiece, full of freshness and musical invention which have made it one of the most popular operas of the ongoing Handel revival.
Question: What is the first name of the person whose libretto with Grimani was considered one of the best that he set?

Instruction: 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.


Question:
Passage: Conquistadors often wore steel armour that included chainmail and helmets. The Spanish were sufficiently impressed by the quilted cotton armour of their Maya enemies that they adopted it in preference to their own steel armour. Maya weaponry was not sufficiently powerful to justify the discomfort of wearing European armour. Quilted cotton armour, although still uncomfortably hot, was flexible and weighed much less. The Maya armour was adapted by the Spanish, who used knee-length quilted cotton tunics and Spanish-style caps. Horsemen wore long quilted cotton leg protectors; their horses were also protected with padded cotton armour. After the final push to the Petén lakes in early 1697, the Spanish recorded that they left with their garrison over 50 Dutch- and French-made muskets, three 1-pound (0.45 kg) calibre light cannons (piezas) cast from iron and mounted on carriages, four iron and two bronze pedreros (2-chambered stone-launchers) and six of at least eight bronze light cannons (known as esmiriles).
Question: Who had four iron and two bronze pedreros?

Passage: The French colonization of Texas began with the establishment of a fort in present-day southeastern Texas. It was established in 1685 near Arenosa Creek and Matagorda Bay by explorer Robert Cavelier de La Salle. He intended to found the colony at the mouth of the Mississippi River, but inaccurate maps and navigational errors caused his ships to anchor instead 400 miles (640 km) to the west, off the coast of Texas. The colony survived until 1688. The present-day town of Inez is near the fort's site.
The colony faced numerous difficulties during its brief existence, including Native American raids, epidemics, and harsh conditions. From that base, La Salle led several expeditions to find the Mississippi River. These did not succeed, but La Salle did explore much of the Rio Grande and parts of east Texas. During one of his absences in 1686, the colony's last ship was wrecked, leaving the colonists unable to obtain resources from the French colonies of the Caribbean. As conditions deteriorated, La Salle realized the colony could survive only with help from the French settlements in Illinois Country to the north, along the Mississippi and Illinois Rivers. His last expedition ended along the Brazos River in early 1687, when La Salle and five of his men were murdered during a mutiny.
Although a handful of men reached Illinois Country, help never made it to the fort. Most of the remaining members of the colony were killed during a Karankawa raid in late 1688, four children survived after being adopted as captives. Although the colony lasted only three years, it established France's claim to possession of the region that is now Texas. The United States later claimed, unsuccessfully, this region as part of the Louisiana Purchase because of the early French colony.
Spain learned of La Salle's mission in 1686. Concerned that the French colony could threaten Spain's control over the Viceroyalty of New Spain and the unsettled southeastern region of North America, the Crown funded multiple expeditions to locate and eliminate the settlement. The unsuccessful expeditions helped Spain to better understand the geography of the Gulf Coast region. When the Spanish finally discovered the remains of the French colony at the fort in 1689, they buried the cannons and burned the buildings. Years later, Spanish authorities built a presidio at the same location. When the presidio was abandoned, the site of the French settlement was lost to history.
The fort was rediscovered by historians and excavated in 1996, and the area is now an archaeological site. In 1995, researchers located the ship La Belle in Matagorda Bay, with several sections of the hull remaining virtually intact. They constructed a cofferdam, the first to be used in North America to excavate the ship as if in dry conditions. In 2000, excavations revealed three of the original structures of the fort, as well as three graves of Frenchmen.
Question: Who buried the cannons and burned the colony's buildings?

Passage: In the early 1830s, the army loaned the citizens of Gonzales a small cannon for protection against Indian raids.  After a Mexican soldier bludgeoned a Gonzales resident on September 10, 1835, tensions rose even further, and Mexican authorities felt it unwise to leave the settlers with a weapon. Colonel Domingo de Ugartechea, commander of all Mexican military forces in Texas, sent a small detachment of troops to retrieve the cannon. After settlers escorted the group from town without the cannon, Ugartechea sent 100 dragoons with Lieutenant Francisco de Castañeda to demand compliance, with orders to avoid force if possible.Many of the settlers believed Mexican authorities were manufacturing an excuse to attack the town and eliminate the militia. Texians stalled Castañeda's attempts to negotiate the cannon's return for several days as they waited for reinforcements from other colonies.  In the early hours of October 2, approximately 140 Texian volunteers attacked Castañeda's force. After a brief skirmish, Castañeda requested a meeting with Texian leader John Henry Moore.  Castañeda revealed that he shared their federalist leanings, but that he was honor-bound to follow orders.  As Moore returned to camp, the Texians raised a homemade white banner with an image of the cannon painted in black in the center, over the words "Come and Take It".  Realizing that he was outnumbered and outgunned, Castañeda led his troops back to Béxar.  In this first battle of the revolution, two Mexican soldiers were killed, and one Texian was injured when he fell off his horse. Although the event was, as characterized by historian William C. Davis, "an inconsequential skirmish in which one side did not try to fight", Texians soon declared it a victory over Mexican troops.  News of the skirmish spread throughout the United States, encouraging many adventurers to come to Texas to join the fight.Volunteers continued to arrive in Gonzales. On October 11, the troops unanimously elected Austin, who had no official military experience, the leader of the group he had dubbed the Army of the People.  From the beginning, the volunteer army proved to have little discipline.  Austin's first official order was to remind his men that they were expected to obey their commanding officers.  Buoyed by their victory, the Texians were determined to drive the Mexican army out of Texas, and they began preparing to march to Béxar.
Question: What is the first name of the person for whom Texians raised a homemade white banner with an image of the cannon painted in black in the center on his return?

Instruction: 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.


Question:
Passage: In February 1935, at Bridge's instigation, Britten was invited to a job interview by the BBC's director of music Adrian Boult and his assistant Edward Clark. Britten was not enthusiastic about the prospect of working full-time in the BBC music department and was relieved when what came out of the interview was an invitation to write the score for a documentary film, The King's Stamp, directed by Alberto Cavalcanti for the GPO Film Unit.
Britten became a member of the film unit's small group of regular contributors, another of whom was W. H. Auden. Together they worked on the documentary films Coal Face and Night Mail in 1935. They also collaborated on the song cycle Our Hunting Fathers (1936), radical both in politics and musical treatment, and subsequently other works including Cabaret Songs, On This Island, Paul Bunyan and Hymn to St. Cecilia. Auden was a considerable influence on Britten, encouraging him to widen his aesthetic, intellectual and political horizons, and also to come to terms with his homosexuality. Auden was, as David Matthews puts it, "cheerfully and guiltlessly promiscuous"; Britten, puritanical and conventional by nature, was sexually repressed.In the three years from 1935 to 1937 Britten wrote nearly 40 scores for the theatre, cinema and radio. Among the film music of the late 1930s Matthews singles out Night Mail and Love from a Stranger (1937); from the theatre music he selects for mention  The Ascent of F6 (1936), On the Frontier (1938) and Johnson Over Jordan (1939); and of the music for radio, King Arthur (1937) and The Sword in the Stone (1939).In 1937 there were two events of huge importance in Britten's life: his mother died, and he met the tenor Peter Pears. Although Britten was extraordinarily devoted to his mother and was devastated at her death, it also seems to have been something of a liberation for him. Only after that did he begin to engage in emotional relationships with people his own age or younger. Later in the year he got to know Pears while they were both helping to clear out the country cottage of a mutual friend who had died in an air crash. Pears quickly became Britten's musical inspiration and close (though for the moment platonic) friend. Britten's first work for him was composed within weeks of their meeting, a setting of Emily Brontë's poem, "A thousand gleaming fires", for tenor and strings.During 1937 Britten composed a Pacifist March to words by Ronald Duncan for the Peace Pledge Union, of which, as a pacifist, he had become an active member; the work was not a success and was soon withdrawn. The best known of his compositions from this period is probably Variations on a Theme of Frank Bridge for string orchestra, described by Matthews as the first of Britten's works to become a popular classic. It was a success in North America, with performances in Toronto, New York, Boston, Chicago and San Francisco, under conductors including John Barbirolli and Serge Koussevitzky.
Question: What is the name of the person that came to terms with his homosexuality?

Passage: Britten's fellow-composers had divided views about him. To Tippett he was "simply the most musical person I have ever met", with an "incredible" technical mastery; some contemporaries, however, were less effusive. In Tippett's view Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music, a belief Tippett dismisses as ridiculous, inspired by jealousy at Britten's postwar successes. Leonard Bernstein considered Britten "a man at odds with the world", and said of his music: "[I]f you hear it, not just listen to it superficially, you become aware of something very dark". The tenor Robert Tear, who was closely associated with Britten in the latter part of the composer's career, made a similar point: "There was a great, huge abyss in his soul ... He got into the valley of the shadow of death and couldn't get out".In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett. The film-maker Tony Palmer   thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer Robert Saxton soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century. Britten has had few imitators; Brett describes him as "inimitable, possessed of ... a voice and sound too dangerous to imitate". Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of Oliver Knussen, he became "a phenomenal father-figure". Brett believes that he affected every subsequent British composer to some extent: "He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate."Whittall believes that one reason for Britten's enduring popularity is the "progressive conservatism" of his music. He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, "the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times". Britten defined his mission as a composer in very simple terms: composers should aim at "pleasing people today as seriously as we can".
Question: What was the name of the person who was described as "inimitable, possessed of ... a voice and sound too dangerous to imitate"?

Passage: In February 1935, at Bridge's instigation, Britten was invited to a job interview by the BBC's director of music Adrian Boult and his assistant Edward Clark. Britten was not enthusiastic about the prospect of working full-time in the BBC music department and was relieved when what came out of the interview was an invitation to write the score for a documentary film, The King's Stamp, directed by Alberto Cavalcanti for the GPO Film Unit.
Britten became a member of the film unit's small group of regular contributors, another of whom was W. H. Auden. Together they worked on the documentary films Coal Face and Night Mail in 1935. They also collaborated on the song cycle Our Hunting Fathers (1936), radical both in politics and musical treatment, and subsequently other works including Cabaret Songs, On This Island, Paul Bunyan and Hymn to St. Cecilia. Auden was a considerable influence on Britten, encouraging him to widen his aesthetic, intellectual and political horizons, and also to come to terms with his homosexuality. Auden was, as David Matthews puts it, "cheerfully and guiltlessly promiscuous"; Britten, puritanical and conventional by nature, was sexually repressed.In the three years from 1935 to 1937 Britten wrote nearly 40 scores for the theatre, cinema and radio. Among the film music of the late 1930s Matthews singles out Night Mail and Love from a Stranger (1937); from the theatre music he selects for mention  The Ascent of F6 (1936), On the Frontier (1938) and Johnson Over Jordan (1939); and of the music for radio, King Arthur (1937) and The Sword in the Stone (1939).In 1937 there were two events of huge importance in Britten's life: his mother died, and he met the tenor Peter Pears. Although Britten was extraordinarily devoted to his mother and was devastated at her death, it also seems to have been something of a liberation for him. Only after that did he begin to engage in emotional relationships with people his own age or younger. Later in the year he got to know Pears while they were both helping to clear out the country cottage of a mutual friend who had died in an air crash. Pears quickly became Britten's musical inspiration and close (though for the moment platonic) friend. Britten's first work for him was composed within weeks of their meeting, a setting of Emily Brontë's poem, "A thousand gleaming fires", for tenor and strings.During 1937 Britten composed a Pacifist March to words by Ronald Duncan for the Peace Pledge Union, of which, as a pacifist, he had become an active member; the work was not a success and was soon withdrawn. The best known of his compositions from this period is probably Variations on a Theme of Frank Bridge for string orchestra, described by Matthews as the first of Britten's works to become a popular classic. It was a success in North America, with performances in Toronto, New York, Boston, Chicago and San Francisco, under conductors including John Barbirolli and Serge Koussevitzky.
Question: What was the name of the company Britten became a member of?

Instruction: 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.


Question:
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.
Question: What is the name of the area that has a resident population of common bottlenose dolphins?

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.
Question: What is the name of the area that has a year-round population of double-crested cormorants?

Passage: The SSSI is designated as a Special Protection Area for birds for its variety of coastal habitats. The large breeding colonies of Sandwich terns and little terns, especially those at Blakeney Point and Scolt Head Island, are of "European importance" as defined in the Birds Directive, and the coast as a whole meets Natural England's criteria for nationally important populations of common terns, pied avocets and reedbed specialists like western marsh harriers, Eurasian bitterns and bearded reedlings. Other birds nesting in the wetlands include the northern lapwing, common redshank, and sedge, reed and Cetti's warblers. Ringed plovers and Eurasian oystercatchers lay their eggs on bare sand in the dunes. Little egrets, Eurasian spoonbills, ruffs and black-tailed godwits are present for much of the year, and the egret and spoonbill have both started nesting within the SSSI.In spring and early summer, migrant birds including the little gull, black tern, Temminck's stint and garganey may pass through on their way to breed elsewhere. In the autumn, birds arrive from the north; some, such as whimbrels, curlew sandpipers and little stints, just pausing for a few days to refuel before continuing south, others staying for the winter. Offshore, great and Arctic skuas, northern gannets and black-legged kittiwakes may pass close by in favourable winds. Large numbers of ducks winter along the coast, including many Eurasian wigeons, Eurasian teals, mallards and gadwalls, goldeneyes and northern pintails. Red-throated divers are usually on the sea, and brent geese feed on sea lettuce and other green algae. Barn owls and sometimes hen harriers quarter the marshes in winter, and snow bunting flocks can be found on the beaches. Thousands of geese, mainly pink-footed, roost at Holkham.The SSSI's north-facing east coast location can be favourable for huge numbers of migrating birds when the weather conditions are right. These may include vagrant rarities. A black-winged stilt, which acquired the nickname "Sammy", arrived at Titchwell in 1993 and became a permanent resident up to its disappearance in 2005. Other major rarities included a western sandpiper at Cley in 2012, a rufous-tailed robin at Warham Greens in 2011, and a black-winged pratincole at Titchwell in 2009.
Question: What is the type of rare bird that arrived to Titchwell in 1993?

Instruction: 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.


Question:
Passage: In 1987, James Brennan plans to have a summer vacation in Europe after graduating with a comparative literature degree from Oberlin College and to attend a journalism graduate school at Columbia University when his holidays end. A few days after his graduation, his parents advise him to seek a part-time job rather than going to Europe when they unexpectedly announce that financial problems have taken a toll on them and they would be unable to financially support him.
James gets a job at Adventureland, a local amusement park in his hometown of Pittsburgh, Pennsylvania, where his childhood friend Tommy Frigo works. Assistant manager Bobby assigns James to the games area. He meets his co-workers: sarcastic Joel; Bobby's wife and park manager Paulette; Sue O'Malley; Mark; the alluring Lisa P.; and the park's technician, Mike Connell, a part-time musician. Another games worker, Emily "Em" Lewin, saves James from being stabbed by a lying, cheating customer.
With her father and stepmother away, Em throws a party and gets to know James. During the conversation, Em persuades James to join her in the house's swimming pool. After Em leaves the pool, James follows only to jump back into the water in humiliation when Frigo announces to the partygoers that he saw James having an erection while leaving the pool. After the party, Connell, who has been having an affair with Em, comes over to further pursue it.
Question: What's the first name of the person the park technician is having an affair with?

Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.
At Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage.
After Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.
Question: What was the name of the person that donated Jessie?

Passage: In 1987, James Brennan plans to have a summer vacation in Europe after graduating with a comparative literature degree from Oberlin College and to attend a journalism graduate school at Columbia University when his holidays end. A few days after his graduation, his parents advise him to seek a part-time job rather than going to Europe when they unexpectedly announce that financial problems have taken a toll on them and they would be unable to financially support him.
James gets a job at Adventureland, a local amusement park in his hometown of Pittsburgh, Pennsylvania, where his childhood friend Tommy Frigo works. Assistant manager Bobby assigns James to the games area. He meets his co-workers: sarcastic Joel; Bobby's wife and park manager Paulette; Sue O'Malley; Mark; the alluring Lisa P.; and the park's technician, Mike Connell, a part-time musician. Another games worker, Emily "Em" Lewin, saves James from being stabbed by a lying, cheating customer.
With her father and stepmother away, Em throws a party and gets to know James. During the conversation, Em persuades James to join her in the house's swimming pool. After Em leaves the pool, James follows only to jump back into the water in humiliation when Frigo announces to the partygoers that he saw James having an erection while leaving the pool. After the party, Connell, who has been having an affair with Em, comes over to further pursue it.
Question: What's the name of the park technician's workplace?

Instruction: 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.


Question:
Passage: Sir Edwin Lutyens was among the most distinguished architects for war memorials in Britain. He became a nationally renowned designer of war memorials following his work as an adviser to (and later one of the principal architects for) the Imperial War Graves Commission and his design for the Cenotaph on London's Whitehall. As well as dozens of public war memorials in towns and cities across Britain, Lutyens designed several private memorials to individual casualties, usually the sons of friends or clients. Many were heirs to the country houses Lutyens had built earlier in his career, as in Mells where he renovated the manor at the beginning of the 20th century. His work in Mells arose through his friend and collaborator Gertrude Jekyll, who introduced him to the Horners through a family connection. Lutyens established a friendship which led to multiple commissions in the village. In addition to his work on the manor, he redesigned its gardens and worked on several related buildings and structures, and after the war was responsible for a tribute to Raymond Asquith (Edward's brother-in-law), also located in St Andrew's Church, and the village war memorial. Lutyens designed two other memorials to Horner: a wooden board featuring a description of the events leading up to his death, which was placed on a wall in the family chapel in St Andrew's Church; and a stone tablet in Cambrai Cathedral.Alfred Munnings was a painter specialising in horses. He volunteered for military service at the outbreak of war but was deemed unfit due to lack of sight in one eye. He volunteered to tend to army horses and was later recruited as a civilian war artist attached to Canadian cavalry. In 1919, he was beginning to move into sculpture. The Horner memorial was his first public work of sculpture, for which Lutyens commissioned him based on a pre-existing friendship. The work led to several further commissions for equine statues, including from the Jockey Club for a sculpture of the racehorse Brown Jack at Epsom Downs Racecourse. Munnings produced two models in clay for review by Lady Horner; he worked from photographs provided by Lady Horner and a live model in producing the statue. At one point, Munnings was so dissatisfied with the statue's head that he cut it off and re-cast it from scratch.
Question: What is the name of the person Edwin developed a friendship with which led to multiple commissions in the village?

Passage: Sir Edwin Lutyens was among the most distinguished architects for war memorials in Britain. He became a nationally renowned designer of war memorials following his work as an adviser to (and later one of the principal architects for) the Imperial War Graves Commission and his design for the Cenotaph on London's Whitehall. As well as dozens of public war memorials in towns and cities across Britain, Lutyens designed several private memorials to individual casualties, usually the sons of friends or clients. Many were heirs to the country houses Lutyens had built earlier in his career, as in Mells where he renovated the manor at the beginning of the 20th century. His work in Mells arose through his friend and collaborator Gertrude Jekyll, who introduced him to the Horners through a family connection. Lutyens established a friendship which led to multiple commissions in the village. In addition to his work on the manor, he redesigned its gardens and worked on several related buildings and structures, and after the war was responsible for a tribute to Raymond Asquith (Edward's brother-in-law), also located in St Andrew's Church, and the village war memorial. Lutyens designed two other memorials to Horner: a wooden board featuring a description of the events leading up to his death, which was placed on a wall in the family chapel in St Andrew's Church; and a stone tablet in Cambrai Cathedral.Alfred Munnings was a painter specialising in horses. He volunteered for military service at the outbreak of war but was deemed unfit due to lack of sight in one eye. He volunteered to tend to army horses and was later recruited as a civilian war artist attached to Canadian cavalry. In 1919, he was beginning to move into sculpture. The Horner memorial was his first public work of sculpture, for which Lutyens commissioned him based on a pre-existing friendship. The work led to several further commissions for equine statues, including from the Jockey Club for a sculpture of the racehorse Brown Jack at Epsom Downs Racecourse. Munnings produced two models in clay for review by Lady Horner; he worked from photographs provided by Lady Horner and a live model in producing the statue. At one point, Munnings was so dissatisfied with the statue's head that he cut it off and re-cast it from scratch.
Question: What is the last name of the person who had a memorial that was a wooden board featuring a description of the events leading up to his death?

Passage: Sir Edwin Lutyens was among the most distinguished architects for war memorials in Britain. He became a nationally renowned designer of war memorials following his work as an adviser to (and later one of the principal architects for) the Imperial War Graves Commission and his design for the Cenotaph on London's Whitehall. As well as dozens of public war memorials in towns and cities across Britain, Lutyens designed several private memorials to individual casualties, usually the sons of friends or clients. Many were heirs to the country houses Lutyens had built earlier in his career, as in Mells where he renovated the manor at the beginning of the 20th century. His work in Mells arose through his friend and collaborator Gertrude Jekyll, who introduced him to the Horners through a family connection. Lutyens established a friendship which led to multiple commissions in the village. In addition to his work on the manor, he redesigned its gardens and worked on several related buildings and structures, and after the war was responsible for a tribute to Raymond Asquith (Edward's brother-in-law), also located in St Andrew's Church, and the village war memorial. Lutyens designed two other memorials to Horner: a wooden board featuring a description of the events leading up to his death, which was placed on a wall in the family chapel in St Andrew's Church; and a stone tablet in Cambrai Cathedral.Alfred Munnings was a painter specialising in horses. He volunteered for military service at the outbreak of war but was deemed unfit due to lack of sight in one eye. He volunteered to tend to army horses and was later recruited as a civilian war artist attached to Canadian cavalry. In 1919, he was beginning to move into sculpture. The Horner memorial was his first public work of sculpture, for which Lutyens commissioned him based on a pre-existing friendship. The work led to several further commissions for equine statues, including from the Jockey Club for a sculpture of the racehorse Brown Jack at Epsom Downs Racecourse. Munnings produced two models in clay for review by Lady Horner; he worked from photographs provided by Lady Horner and a live model in producing the statue. At one point, Munnings was so dissatisfied with the statue's head that he cut it off and re-cast it from scratch.
Question: What is the first name of the person who established a friendship which led to multiple commissions in the village?

Instruction: 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.