Problem: 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."

Question: "Which artist, in addition to Alberti, did Durer disagree with?"

Answer: "Leonardo"

OPTIONS:
- no
- yes
Answer: yes

Question:
On his return to Nuremberg in 1495, Durer opened his own workshop (being married was a requirement for this). Over the next five years his style increasingly integrated Italian influences into underlying Northern forms. Durer's father died in 1502, and his mother died in 1513. His best works in the first years of the workshop were his woodcut prints, mostly religious, but including secular scenes such as The Men's Bath House (ca. 1496). These were larger and more finely cut than the great majority of German woodcuts hitherto, and far more complex and balanced in composition. It is now thought unlikely that Durer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Durer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block. After reading the above, is "Rome" the correct answer to the question "As a result of training in Wolgemut's studio, what defined and distinguished Durer's woodcut prints from the great majority of German woodcuts prior to him?"? OPTIONS:
- no
- yes

Answer:
no

Input: The side of Malaquez's parcel gave way to reveal a greenmunk caught in a sheen of solid air. Bits of leaf mold flew from under his feet as he ran to greet a friend or a bringer of food. Tasha oohed in awe. I said, "Frodo's been visiting you, eh?" Malaquez said, "Your pet?" "Hardly. He lives around here somewhere. I suppose he was attracted to the commotion up the hill." "Ah," Malaquez said. "Why 'Frodo'?" Tasha said, "A little fellow with big, furry feet. What else could he be called?" She handed the sculpture to me. I almost dropped it; I expected it to weigh no more than a holo. "Heavy," I said, as if he might not have known. He laughed. "My last piece was of four old Undersiders crouched around a trash fire. Be glad someone didn't toss that to you." He spoke of his art with the enthusiasm of a seven-year-old. "Um, I should wait to importune you, but..."
"Where does Frodo live?" is "Somewhere near the narrator"?

OPTIONS:
- no
- yes
Output: yes

Input: But I think it is certain that most of the early Christians understood these words of our Lord's ascension and coming again in glory. They believed that He was coming again in a very little while during their own life-time, in a few months or years, to make an end of the world and to judge the quick and the dead. And as they waited for His coming, one generation after another, and yet He did not come, a sadness fell upon them. Christ seemed to have left the world. The little while that He had promised to be away seemed to have become a very long while. Hundreds of years passed, and yet Christ did not come in glory. And, as I said, a sadness fell on all the Church. Surely, they said, this is the time of which Christ said we were to weep and lament till we saw Him again--this is the time of which He said that the bridegroom should be taken from us, and we should fast in those days. And they did fast, and weep, and lament; and their religion became a very sad and melancholy one--most sad in those who were most holy, and loved their Lord best, and longed most for His coming in glory.
"Who believed that He was coming again?" is "Early Hindus"?

OPTIONS:
- no
- yes
Output:
no