In architecture Durer cites Vitruvius but elaborates his own classical designs and columns. In typography, Durer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra. Here Durer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention. In all these, Durer shows the objects as nets. Finally, Durer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. It was in Bologna that Durer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Durer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles. In addition to these geometrical constructions, Durer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective.

Question: "In which book does Durer show the understanding of Euclidean principles?"

Response: "Three"
OPTIONS:
- no
- yes

A: no

Problem: Albrecht Durer (/'dU@r@r, 'djU@r@r/; German: ['albRect 'dy:Ra]; 21 May 1471 - 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Durer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Durer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

Question: "Durer secured his reputation in Northern Europe by the knowledge of what specific artists?"

Answer: "Raphael"

OPTIONS:
- no
- yes
Answer: yes

Input: In India to purchase some horses , British aristocrat , Lord Esketh and his wife , Edwina , come to the town of Ranchipur at the invitation of the elderly Maharani . Their marriage is an unhappy one and Lord Esketh announces his intention to return to England and begin divorce proceedings . The spoiled , insensitive Edwina scoffs at this . She renews in Ranchipur an acquaintance with a former lover , Tom Ransome , now a dissolute alcoholic . She also meets and attempts to seduce a distinguished Hindu physician , Dr. Rama Safti , a decent man who is the elderly Maharani's personal choice to succeed her someday . Safti at first resists , but ultimately succumbs to Edwina's charms and falls hopelessly in love with her . Lord Esketh becomes aware of this , but Safti saves him from a man-eating tiger during a safari . Safti admits his love for Edwina to Lord Esketh , who is now sympathetic toward this good man's plight . Ransome feels the same way , warning Edwina to stay away from Safti , a friend he admires . Edwina similarly falls into disfavor with the Maharani , who explains that Safti has been raised to lead a pure life and that Edwina is unworthy of him . Ranchipur suddenly is ravaged by a natural disaster , an earthquake and flood . Dr. Safti is so busy saving lives that he can not personally care for Edwina , who has fallen ill . Ransome looks after her as well as for young Fern Simon , who has declared her love for him . When a dam is exploded by dynamite and as a result the flood waters recede , it is Dr. Safti who reveals that Ransome is the one who risked his personal safety to save the people of Ranchipur .

Does the response "Tom Ransome being an alcoholic" correctly answer the question "What does Lord Esketh's wife scoff at?"?

OPTIONS:
- no
- yes
***
Output:
no