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).

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

Zinni feared that Bin Laden would in the future locate himself in cities, where U.S. missiles could kill thousands of Afghans. He worried also lest Pakistani authorities not get adequate warning, think the missiles came from India, RESPONSES TO AL QAEDA'S INITIAL ASSAULTS 135 and do something that everyone would later regret. Discussing potential repercussions in the region of his military responsibility, Zinni said, "It was easy to take the shot from Washington and walk away from it. We had to live there." Zinni's distinct preference would have been to build up counterterrorism capabilities in neighboring countries such as Uzbekistan. But he told us that he could not drum up much interest in or money for such a purpose from Washington, partly, he thought, because these countries had dictatorial governments. After the decision-in which fear of collateral damage was an important factor- not to use cruise missiles against Kandahar in December 1998, Shelton and officers in the Pentagon developed plans for using an AC-130 gunship instead of cruise missile strikes. Designed specifically for the special forces, the version of the AC-130 known as "Spooky"can fly in fast or from high altitude, undetected by radar; guided to its zone by extraordinarily complex electronics, it is capable of rapidly firing precision-guided 25, 40, and 105 mm projectiles. Because this system could target more precisely than a salvo of cruise missiles, it had a much lower risk of causing collateral damage. After giving Clarke a briefing and being encouraged to proceed, Shelton formally directed Zinni and General Peter Schoomaker, who headed the Special Operations Command, to develop plans for an AC-130 mission against Bin Laden's headquarters and infrastructure in Afghanistan. The Joint Staff prepared a decision paper for deployment of the Special Operations aircraft. Though Berger and Clarke continued to indicate interest in this option, the AC-130s were never deployed. Clarke wrote at the time that Zinni opposed their use, and John Maher, the Joint Staff 's deputy director of operations, agreed that this was Zinni's position. Zinni himself does not recall blocking the option. He told us that he understood the Special Operations Command had never thought the intelligence good enough to justify actually moving AC-130s into position. Schoomaker says, on the contrary, that he thought the AC-130 option feasible. The most likely explanation for the two generals' differing recollections is that both of them thought serious preparation for any such operations would require a long-term redeployment of Special Operations forces to the Middle East or South Asia. The AC-130s would need bases because the aircraft's unrefueled range was only a little over 2,000 miles.

What were the two things that Zinni worried about?

The mighty fane, with its three massive towers, rises majestically over the red roofs of the town. Its most striking feature is the great Norman screen, running up without buttresses or projections to the parapet and hiding the bases of the square, richly decorated towers of the west front. The plain centre of the screen is the work of Remigius, the first bishop. The rest of it is relieved with rich arcading of Late Norman and Early English periods. The wooden spires which crowned the towers were removed in 1807. In 1192 Hugh of Avalon determined to rebuild the Norman building of Remigius, which an earthquake had shaken. To him we owe the choir and eastern transept. His successors completed the western transept and began the west end of the nave. So much money had to be spent in rebuilding the central tower, which fell in 1239, that the canons could not rebuild the nave entirely, but had to incorporate the Norman end by Remigius. Unfortunately the axis of the west front does not correspond to that of the nave, which is too wide for its height. The low vaulting is a serious defect in the choir built by St. Hugh, but of the superb beauty of the Angel Choir, which encloses his shrine, there can be no doubt. In its richness of sculpture it is one of the masterpieces of Gothic architecture in England. The interior of the cathedral is remarkable for the harmony of its style, which is Lancet-Gothic, and the dim lighting of the nave only adds to its impressiveness.
Is the entire Norman screen the work of Remigius, or did he only begin it?