We waited for half an hour, watching the smoke curling over the house, and then, judging that the Indians had made off for fear of being ambushed, we crossed the clearing. It took but a glance to read the story. The women had been washing by the little brook before the cabin, with the children playing about them, when the Indians had come up and with a single volley killed them all except the child we had heard crying. They had swooped down upon their victims, torn the scalps from their heads, looted the house, and set fire to it. We dragged out the body of the woman which had been thrown within, in the hope that a spark of life might yet remain, but she was quite dead. Beneath the warrior Spiltdorph had shot we found the child. It was a boy of some six or seven years, and so covered with blood that it seemed it must be dead. But we stripped it and washed it in the brook, and found no wounds upon it except in the head, where it had been struck with a hatchet before its scalp had been stripped off. The cold water brought it back to life and it began to cry again, whereat Spiltdorph took off his coat and wrapped it tenderly about it.
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QUESTION: Who washed in the brook?

Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."
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QUESTION: What was Durer's concept of 'selective inward synthesis?'

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).
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QUESTION: What pieces created by Durer are named in the paragraph?

Sam Farragut is a sociopathic business executive in Southern California who forces a team of advertising agency employees to embark on a dangerous dirtbike trip to the Baja California desert in order to compete for his business . The men are Warren Summerfield , a suicidal middle-aged ad executive who has been fired from the agency ; the straightlaced Paul McIlvain who is inattentive to his wife , and brash art designer Maxon who feels suddenly trapped after his girlfriend announces she is pregnant . There are numerous long sequences of motorcycle riding on desert backroads . Summerfield has been having an affair with McIlvian's wife . He has not told his wife that he was fired and is simply serving out his tenure at the agency while looking for a new position . His wife is actually aware of the affair . Farragut convinces the ad men to make the motorcycle journey on the pretext of looking for a location to shoot a commercial . In reality , Farragut is reckless and looking to involve the men in spontaneous edgy adventure of his own manipulation . After they leave , McIlvain's wife suspects that Summerfield is planning to kill himself for the insurance money , but she can not convince Summerfield's wife to instigate a search . The four men travel deeper into Mexico on isolated dirt roads . At one point Summerfield contemplates plunging off a cliff . After being humiliated by a young American couple in a Baja bar , Farragut tracks them down on the beach while accompanied by Maxon .
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QUESTION:
Which business executive in California arranged the jouney on the pretext of looking for a location to shoot his commercial?