QUES: His famous series of sixteen great designs for the Apocalypse is dated 1498, as is his engraving of St. Michael Fighting the Dragon. He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III of Saxony in 1496, was executed by Durer and his assistants c. Around 1503-1505 he produced the first seventeen of a set illustrating the Life of the Virgin, which he did not finish for some years. Neither these, nor the Great Passion, were published as sets until several years later, but prints were sold individually in considerable numbers. During the same period Durer trained himself in the difficult art of using the burin to make engravings. It is possible he had begun learning this skill during his early training with his father, as it was also an essential skill of the goldsmith. In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio Vasari singled out for praise some decades later, noting its Germanic quality. He was soon producing some spectacular and original images, notably Nemesis (1502), The Sea Monster (1498), and Saint Eustace (c. 1501), with a highly detailed landscape background and animals. His landscapes of this period, such as Pond in the Woods and Willow Mill, are quite different from his earlier watercolours. There is a much greater emphasis on capturing atmosphere, rather than depicting topography. He made a number of Madonnas, single religious figures, and small scenes with comic peasant figures. Prints are highly portable and these works made Durer famous throughout the main artistic centres of Europe within a very few years.
Do you have any questions?
MY QUESTION: Which of his works place greater emphasis on capturing atmosphere rather than depicting topography?

QUES: 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.
Do you have any questions?
MY QUESTION: Durer's workshop scene "The Men's Bathhouse" was established in what year.

QUES: Fossils can be used to match up rock layers. As organisms change over time, they look different. Older fossils will look different than younger fossils. Some organisms only survived for a short time before going extinct. Knowing what organisms looked like at certain times also helps date rock layers. Some fossils are better than others for this use. The fossils that are very distinct at certain times of Earths history are called index fossils. Index fossils are commonly used to match rock layers. You can see how this works in Figure 2.30. If two rock layers have the same index fossils, then they're probably about the same age.
Do you have any questions?
MY QUESTION: How are index fossils useful?

QUES: Rakal, her first officer, was staring pensively at his panel. He was what this was all about. She watched his graceful fingers ending in thick black claws tap out calculations on the panel. His pointed ears swiveled back and forth, catching every sound from the bridge, while his long tail swished to the rhythm of his thoughts. Only those of the Arrallin Insurrection inner team knew he was no common 'beta furry'. His silken fur, which would be tawny golden and striped with jet black bands, was dyed perfectly to a pure black, and his mane trimmed and thinned as to be indistinguishable from the rest of his coat. His eyes had been treated and darkened to a rich purple to disguise the brilliant golden yellow color that would mark him as an Alpha Arrallin, and leader of his hive. Right now, he looked like an overgrown wolf who'd learned touch-typing. The scout ship re-emerged from the hole - a brilliant speck emerging from a sphere of velvety blackness. It's hail crackled across the comm, and Tara spun to retake her seat at the helm. "Launch the second probe. Won't Central be crushed to learn that another gateway has yielded little more than a class F planet and a white dwarf system. Level 1 and 2 staffers should prepare to be briefed and move out. This sounds like it's the one." The distinctive whuffle of pleasure rippled through the betas on the bridge, and Rakal let loose a small growl, as if to caution his charges against false hope. They'd scouted twenty-seven gates so far, and none had turned up anything worth the Insurrection's time. Tara would not let giddy hopes drag them onto a rock that would spell the end for the project, and the Arrallin species.
Do you have any questions?
MY QUESTION:
How had Rakal been disguised to prevent him from being recognized as a hive leader?