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

Input: Consider Input: Passage: Finds in the nearby Karain Cave indicate occupation during the Paleolithic era as far back as 20,000 BC, and archeological evidence shows a port existed at Syedra, south of the modern city, during the Bronze Age around 3,000 BC. A Phoenician language tablet found in the district dates to 625 BC, and the city is specifically mentioned in the 4th-century BC Greek geography manuscript, the periplus of Pseudo-Scylax. The castle rock was likely inhabited under the Hittites and the Achaemenid Empire, and was first fortified in the Hellenistic period following the area's conquest by Alexander the Great. Alexander's successors left the area to one of the competing Macedonian generals, Ptolemy I Soter, after Alexander's death in 323 BC. His dynasty maintained loose control over the mainly Isaurian population, and the port became a popular refuge for Mediterranean pirates. The city resisted Antiochus III the Great of the neighboring Seleucid kingdom in 199 BC, but was loyal to the pirate Diodotus Tryphon when he seized the Seleucid crown from 142 to 138 BC.  His rival Antiochus VII Sidetes completed work in 137 BC on a new castle and port, begun under Diodotus.The Roman Republic fought Cilician pirates in 102 BC, when Marcus Antonius the Orator established a proconsulship in nearby Side, and in 78 BC under Servilius Vatia, who moved to control the Isaurian tribes. The period of piracy in Alanya finally ended after the city's incorporation into the Pamphylia province by Pompey in 67 BC, with the Battle of Korakesion fought in the city's harbor. Isaurian banditry remained an issue under the Romans, and the tribes revolted in the fourth and fifth centuries AD, with the largest rebellion being from 404 to 408.With the spread of Christianity Coracesium, as it was called, became a bishopric. Its bishop Theodulus took part in the First Council of Constantinople in 381, Matidianus in the Council of Ephesus in 431, Obrimus in the Council of Chalcedon in 451, and Nicephorus (Nicetas) in the Third Council of Constantinople in 680. Coracesium was a suffragan of the metropolitan see of Side, the capital of the Roman province of Pamphylia Prima, to which Coracesium belonged. It continued to be mentioned in the Notitiae Episcopatuum as late as the 12th or 13th century. No longer a residential bishopric, Coracesium is today listed by the Catholic Church as a titular see.Islam arrived in the 7th century with Arab raids, which led to the construction of new fortifications.  The area fell from Byzantine control after the Battle of Manzikert in 1071 to tribes of Seljuk Turks, only to be returned in 1120 by John II Komnenos.

Output: What is the full name of the man who left the area that dates back to 20,000 BC to a Macedonian General?


Input: Consider Input: Passage: Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870. Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble. The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings. Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent." It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."
The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire. The interior is equally spectacular, exceeding Skelton in richness and majesty, Leach commenting that "everything is precisely calculated as to its visual impact." The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained. The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873.In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration" for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists" and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.

Output: Whose patron was George Robinson?


Input: Consider Input: Passage: Anton Rubinstein was a famous Russian pianist who had lived, performed and composed in Western and Central Europe before he returned to Russia in 1858. He saw Russia as a musical desert compared to Paris, Berlin and Leipzig, whose music conservatories he had visited. Musical life flourished in those places; composers were held in high regard, and musicians were wholeheartedly devoted to their art. With a similar ideal in mind for Russia, he had conceived an idea for a conservatory in Russia years before his 1858 return, and had finally aroused the interest of influential people to help him realize the idea.
Rubinstein's first step was to found the Russian Musical Society (RMS) in 1859. Its objectives were to educate people in music, cultivate their musical tastes and develop their talents in that area of their lives. The first priority of the RMS acted was to expose to the public the music of native composers. In addition to a considerable amount of Western European music, works by Mussorgsky and Cui were premiered by the RMS under Rubinstein's baton. A few weeks after the Society's premiere concert, Rubinstein started organizing music classes, which were open to everyone. Interest in these classes grew until Rubinstein founded the Saint Petersburg Conservatory in 1862.According to musicologist Francis Maes, Rubinstein could not be accused of any lack of artistic integrity. He fought for change and progress in musical life in Russia. Only his musical tastes were conservative—from Haydn, Mozart and Beethoven to the early Romantics up to Chopin. Liszt and Wagner were not included. Neither did he welcome many ideas then new about music, including the role of nationalism in classical music. For Rubinstein, national music existed only in folk song and folk dance. There was no place for national music in larger works, especially not in opera. Rubinstein's public reaction to the attacks was simply not to react. His classes and concerts were well attended, so he felt no reply was actually necessary. He even forbade his students to take sides.
Output: What is the first name of the person whose first step was to found the Russian Musical Society??