Joe's parents are farmers and they have a huge farm with cows, chickens, and ducks. Joe loves the farm and all the things he gets to play around and play on. One day, Joe's father told him not to get near a tractor that was sitting in the field. His father was worried that Joe would climb on it and hurt himself. Joe went out to the field and was feeding the horses and cows. When he was done, he saw the tractor his father told him not to get near. He knew that climbing on the tractor wouldn't hurt anything, so he did. He climbed on to the seat and sat there. Then, he pretended he was his father and pretended that he was driving the tractor. Joe's father saw him playing on the tractor and called for him. Joe heard his father calling for him and got off the tractor really fast. When he did that, he fell off and hurt his arm. Joe was in pain and his father came running to check on him and picked him up and sat him on a bench and asked him why he did that. Joe looked at his father and said, "I wanted to be like you." Joe's father gave him a hug and asked him if he wanted to ride with him on the tractor. Joe did and after he got a bandage on his arm, he and his father rode in the field on the tractor.

Question: "Where did Joe live that his father told him not to play with the tractor?"

Answer: "In the city"

Response: no

With a budget of $329 million, LSC provides civil legal assistance to low-income people in every county in America, Kleiman said. NLAP was created in 1968. A decade later, the agency used a $50,000 LSC grant to buy a building at 438 King St. in Charleston and $33,000 to buy a building at 201 King St. in Georgetown, according to Erlenborn's letter to Kaynard. In 1980, NLAP used $63,000 in LSC funds to buy property at 607 Main St. in Conway, the letter said. On Nov. 14, 2001, NLAP transferred title of the King Street building in Charleston to the Charleston County Bar Association, according to county property records. The local bar paid $5 for the building, which sits between a redeveloped office building and an antique shop. The local bar said it would maintain the building for "legal services to indigent residents of Charleston County and coastal South Carolina," the records said. The King Street building appears to be vacant. Notices at the entrance direct visitors to the equal justice center on West Montague Avenue in North Charleston. E. Douglas Pratt-Thomas, president of the local bar, was not available for comment. Charleston County has not appraised the King Street property because it is tax-exempt. But Randall Goldman, managing partner of Patrick Properties, which owns buildings from 440 to 456 King St., said he estimates 438 King St. would sell for between $700,000 and $900,000. "That building, which was purchased solely with federal legal aid dollars, should be used to provide legal services for poor people in South Carolina," Kleiman said. LSC wants the title to go to the equal justice center in Charleston or "we want 100 percent of the proceeds from the sale of the building to stay in Charleston. We are not contemplating taking that money out of South Carolina," he said. Kleiman said if the neighborhood legal program in Charleston "had honored their obligation, this would not be an issue."

Question: "What building did the Charleston County Bar Association pay $5 for?"

Answer: "607 Main St. in Conway"

Response: no

The Venetian artist Jacopo de' Barbari, whom Durer had met in Venice, visited Nuremberg in 1500, and Durer said that he learned much about the new developments in perspective, anatomy, and proportion from him. De' Barbari was unwilling to explain everything he knew, so Durer began his own studies, which would become a lifelong preoccupation. A series of extant drawings show Durer's experiments in human proportion, leading to the famous engraving of Adam and Eve (1504), which shows his subtlety while using the burin in the texturing of flesh surfaces. This is the only existing engraving signed with his full name. Durer made large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hande (English: Praying Hands, c. 1508 Albertina, Vienna), a study for an apostle in the Heller altarpiece. He also continued to make images in watercolour and bodycolour (usually combined), including a number of still lifes of meadow sections or animals, including his Young Hare (1502) and the Great Piece of Turf (1503, both also Albertina).

Question: "What caused Durer to begin his own studies and experiment with human features in his art work?"

Answer: "To become a lifelong preoccupation"

Response: no

She led the way into the cheerful schoolroom, where big girls and little girls were sitting about, amusing themselves in the quiet of a long Sunday afternoon. Several of the younger children ran to her as she came in, and stood holding fast to the folds of her black habit, staring up at the strangers, while she explained the kind of instruction given, the system, and the order reigning in each department. Finally, she persuaded a little girl, only six years old, to take her dusky face out of the long flowing veil of the nun, and show how quickly she could read a sentence that Sister Winifred wrote on the blackboard. Then others were called on, and gave examples of their accomplishments in easy arithmetic and spelling. The children must have been very much bored with themselves that stormy Sunday, for they entered into the examination with a quite unnatural zest. Two of the elder girls recited, and some specimens of penmanship and composition were shown. The delicate complexion of the little nun flushed to a pretty wild-rose pink as these pupils of hers won the Colonel's old fashioned compliments.

Question: "Who led the way into the schoolroom?"

Answer: "The Colonel"

Response:
no