California lags far behind comparable states in funding legal services for the poor, a situation so dire that only 28 percent of the civil legal needs of the state's poor and lowerincome residents are being addressed. That figures translates into 2 million people without the ability to access the justice system, according to a new study by the California Commission on Access to Justice, which also found that despite increased spending, the gap between need and services remains substantial. "As a practical matter, in most cases there can be no access to justice without access to legal assistance," said Jack Londen, past commission chair and a partner with Morrison & Foerster in San Francisco. "Whether we like it or not, sometimes landlords illegally evict tenants, children with disabilities are denied proper care, veterans don't get services guaranteed to them, and elderly people need legal assistance to escape the abuse of a caregiver." California has the highest number of people in poverty in the nation - 6.4 million, including nearly one in five children. Half the nation's increase in poverty in the 1990s, when the number of poor jumped 30 percent, occurred in California, and nearly 25 percent of the nation's poverty increase occurred in Los Angeles County alone. Even those with jobs are suffering: 26 percent of California workers earn poverty level wages. The commission's report, "The Path to Equal Justice: A Five-Year Status Report on Access to Justice in California," examined how the legal needs of the state's poor have changed in the last five years as well as both the shortcomings of the justice system and the improvements during that period. Despite increases in state funding to meet the legal needs of the poor, low interest rates (which have reduced the IOLTA fund), high unemployment and the present economic downturn have threatened any gains.

Question: "High unemployment and the present economic downturn have threatened any gains in which state?"

OPTIONS:
- no
- yes

Answer: "Half the nation's"

Response: no

As for engravings, Durer's work was restricted to portraits and illustrations for his treatise. The portraits include Cardinal-Elector Albert of Mainz; Frederick the Wise, elector of Saxony; the humanist scholar Willibald Pirckheimer; Philipp Melanchthon, and Erasmus of Rotterdam. For those of the Cardinal, Melanchthon, and Durer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Durer depicted the sitters in profile, perhaps reflecting a more mathematical approach. Despite complaining of his lack of a formal classical education, Durer was greatly interested in intellectual matters and learned much from his boyhood friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images. He also derived great satisfaction from his friendships and correspondence with Erasmus and other scholars. Durer succeeded in producing two books during his lifetime. "The Four Books on Measurement" were published at Nuremberg in 1525 and was the first book for adults on mathematics in German, as well as being cited later by Galileo and Kepler. The other, a work on city fortifications, was published in 1527. "The Four Books on Human Proportion" were published posthumously, shortly after his death in 1528.

Question: "Whom did Durer both draw a porter of and consult with?"

Response: "Willibald Pirckheimer"
OPTIONS:
- no
- yes

A: yes

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: "Who was the painter, print maker and theorist of the German Renaissance that was born in Nuremberg Germany?"

Answer: "Giovanni Bellini"

OPTIONS:
- no
- yes
Answer: no

Mr. Thorndike had risen, and, in farewell, was holding out his hand to Andrews. He turned, and across the court-room the eyes of the financier and the stenographer met. At the sight of the great man, Spear flushed crimson, and then his look of despair slowly disappeared; and into his eyes there came incredulously hope and gratitude. He turned his head suddenly to the wall. Mr. Thorndike stood irresolute, and then sank back into his chair. The first man in the line was already at the railing, and the questions put to him by the judge were being repeated to him by the other assistant district attorney and a court attendant. His muttered answers were in turn repeated to the judge. "Says he's married, naturalized citizen, Lutheran Church, die- cutter by profession." The probation officer, her hands filled with papers, bustled forward and whispered. "Mrs. Austin says," continued the district attorney, "she's looked into this case, and asks to have the man turned over to her. He has a wife and three children; has supported them for five years." "Is the wife in court?" the judge said. A thin, washed-out, pretty woman stood up, and clasped her hands in front of her. "Has this man been a good husband to you, madam?" asked the young judge. The woman broke into vehement assurances. No man could have been a better husband. Would she take him back? Indeed she would take him back. She held out her hands as though she would physically drag her husband from the pillory. The judge bowed toward the probation officer, and she beckoned the prisoner to her.

Question: "What was the stenographer's name?"

OPTIONS:
- no
- yes

Answer: "Andrew"

Response:
no