Egypt Lecture Notes The art/culture of ancient Egypt was her most momentous contribution to the world. In this beginning of history is found a quite vigorous and matured civilization that developed out of prehistoric eras. Here were constructed colossal engineering works in majestic buildings, designed according to the most ingenious and honest aesthetic standards. Few other people's ancient or modern have conceived a structure of such a vast scale so grandiose and so awe-inspiring. Egypt developed its own art independent of preceding foreign cultures and it reflected very uniquely and characteristically its very own people. It's truly one of the greatest, most powerful and yet most refined cultures in history. Geographically situated in the Northeast corner of Africa along the Nile River this stretch of territory is approximately 30 miles wide and 800 miles long. Egyptian civilization was completely dependent upon the river Nile for its vegetation and subsistence. Bordered by deserts and the sea, Egypt was inaccessible to invading peoples from other areas.  This actually served as protection for the people and protection of their continuous actions. The climate of the valley of the Nile was desert like little rainfall blue skies and the air and weather preserved their monuments. Natural to the area are large quantities of hard and durable stone such as granite, basalt, and diorite. Also available, limestone. Lumbar or timber was in low supply because after all it is an arid desert. There were palm trees for structural purposes and papyrus was also used for structural purposes. The acacia tree and sycamore fig tree were used to some extent but were mostly imported those trees were imported from Syria believes in the branches. The leaves and branches of these trees and the wildflowers from the banks of the Nile River became the principal inspiration for ornamental design. Religion was important to every inhabitant of Egypt. They believed that life on earth was temporary and that one's duty, while here on earth, was to prepare for an eternal existence in the hereafter. In fact the Egyptians were the first to claim that the soul, human soul, was immortal. They believed that the soul would return to human body form after 3000 years. Their religious beliefs explain the existence of the pyramids and mastaba tombs which were constructed with the idea that they would exist for eternity. Egyptians of rank were buried surrounded by everything they would need in the afterlife. Their mummified bodies were surrounded with household goods and clothing, as well as food and even mummified animals that they would take with them into the afterlife. In 1922 the discovery of Tutankhamen's tomb in 1922 provided a very complete knowledge of daily life of the royal families. Egyptian culture was so firmly established that, in the few foreign invasions that did occur during a long history, the culture of the conquerors was always completely submerged. Even Alexa ...

1. Egypt Lecture Notes
The art/culture of ancient Egypt was her most momentous
contribution to the world. In this beginning of history is found a
quite vigorous and matured civilization that developed out of
prehistoric eras. Here were constructed colossal engineering
works in majestic buildings, designed according to the most
ingenious and honest aesthetic standards. Few other people's
ancient or modern have conceived a structure of such a vast
scale so grandiose and so awe-inspiring. Egypt developed its
own art independent of preceding foreign cultures and it
reflected very uniquely and characteristically its very own
people. It's truly one of the greatest, most powerful and yet
most refined cultures in history. Geographically situated in the
Northeast corner of Africa along the Nile River this stretch of
territory is approximately 30 miles wide and 800 miles long.
Egyptian civilization was completely dependent upon the river
Nile for its vegetation and subsistence. Bordered by deserts and
the sea, Egypt was inaccessible to invading peoples from other
areas. This actually served as protection for the people and
protection of their continuous actions. The climate of the valley
of the Nile was desert like little rainfall blue skies and the air
and weather preserved their monuments. Natural to the area are
large quantities of hard and durable stone such as granite,
basalt, and diorite. Also available, limestone. Lumbar or timber
was in low supply because after all it is an arid desert. There
were palm trees for structural purposes and papyrus was also
used for structural purposes. The acacia tree and sycamore fig
tree were used to some extent but were mostly imported those
trees were imported from Syria believes in the branches. The
leaves and branches of these trees and the wildflowers from the
banks of the Nile River became the principal inspiration for
ornamental design.

2. Religion was important to every inhabitant of Egypt. They
believed that life on earth was temporary and that one's duty,
while here on earth, was to prepare for an eternal existence in
the hereafter. In fact the Egyptians were the first to claim that
the soul, human soul, was immortal. They believed that the soul
would return to human body form after 3000 years.
Their religious beliefs explain the existence of the pyramids and
mastaba tombs which were constructed with the idea that they
would exist for eternity. Egyptians of rank were buried
surrounded by everything they would need in the afterlife. Their
mummified bodies were surrounded with household goods and
clothing, as well as food and even mummified animals that they
would take with them into the afterlife. In 1922 the discovery of
Tutankhamen's tomb in 1922 provided a very complete
knowledge of daily life of the royal families.
Egyptian culture was so firmly established that, in the few
foreign invasions that did occur during a long history, the
culture of the conquerors was always completely submerged.
Even Alexander the great in the fourth century BC was
politically and socially snubbed by the Egyptians and forced to
found his own city, Alexandria.
The Egyptians were mighty navigators and sent their ships to all
the ports of the Mediterranean Sea. The early tribes of Greece
as well as the Spanish and the Italians felt the influence of
Egyptian traders, and the Egyptian motifs and trends are to be
seen in their early arts/cultures.
The oldest and grandest existing examples of Egyptian
architecture are the pyramids of Giza which are located near
Cairo. In fact today they are pretty much surrounded by Cairo.
Built about 3700 BC their purpose was to serve religion not
architecture. They were the tombs of the kings of the early
dynasties and most likely therefore was probably inspired by

3. prehistoric burial mounds. There is still speculation today of
exactly how their engineering methods were employed. Quite a
bit of the granite that they used was quarried more than 700
miles away. It remains a topic of interest on just how the moved
the many many times of granite to their place of location.
The character of the Egyptian buildings consists of layer of
large palaces temples and tombs. Before the development of
stone cutting tools structures were built primarily of clay which
was fashioned in the sun-dried brick this clay coming from the
Nile River. The other type of construction was built of a row of
vertical tree trunks that supported wood beams which were in
turn covered with branches and clay.
The invention of stone cutting tools allowed the slanting form
of the former brick walls to be imitated by chiseled/cutting in
granite. The wood support beams and branch covering were
replaced with stone beams. This a typical example of the
perpetuation of tradition in Egyptian design. With the use of
granite, the strongest of stones, the walls could have been
carried to great heights at the same thickness. Stone pillars or
columns were substituted for tree trunks. The stone supports
found were either round or polygonal. Very sturdy in
appearance and were carved to imitate a cluster of papyrus
reeds or palm tree trunks that in wooden construction had been
tied together for greater strength. This treatment produced an
effect of vertical convex ribs which was the prototype of the
‘flutings’ or grooves cut in later columns. Branches at the top of
the tree were also frequently conventionalized in the stone
column, forming sn ornamental feature, bell-shaped in
appearance and known as a campaniform capital. Other capitals
were inspired from palm branches, from single or clustered
lotus buds, and from the curling leaves of the papyrus. Granite
was used for the exterior walls of buildings. Because of the
primitive nature of the tools that were available, simple forms
and few moldings were used in Egyptian architecture engine

4. decoration. The top of walls were usually crowned with a
hollow rule molding concave in shape, sometimes known as a
bird's beak or cavetto. Limestone, a much softer material, was
often used to line the interior walls as it was easier to cut into
ornamental patterns.
Rectangular forms and straight lines dominated Egyptian
architecture. Massive and solid, providing the effect of
perpetuity. Walls characteristics were excessively thick, and
supports were proportionately heavy and sturdy. The Egyptians
had little knowledge of the principles of arch construction, so
that vaulted ceilings and arched doors or window openings were
not use. The columns were spanned by heavy stone beams or
lintels that were of enormous size and of great weight, and, due
to the material, the length of the span was extremely limited and
frequent supports were necessary. Lines of lintels (horizontal
beams) were set together close so that stone roof slabs could be
in turn placed upon them. In wide rooms, numerous columns
(vertical posts) had to be placed in the interior to support the
short stone beams. These interior columns were arranged along
rows and richly decorated with carving and color many of the
rooms appeared to be a forest of columns, as the desire for
permanence precluded the use of wooden beams which would
have spanned greater distances. This system of column and
lintel is known as trabeated construction and is the most
characteristic feature of Egyptian design. Many of the temples
and palaces were of vast size. In spite of that fact they were
considered as temporary abodes, great wealth was lavished upon
them, and they were decorated with luxury and splendor. Over
the entrance door was carved a welcoming sentence. Courtyards
were treated with colorful decorations and awnings provided
relief from harsh sun.
Character of Egyptian wall decoration and ornament: exterior
walls were often treated with brilliant color applied to incised
wall carvings. These decorations were made by first drawing

5. outline sketches on the wall with charcoal. The next step was
chiseling a groove around the outline of each individual
motif. chiseled around the outline of each motif. The figure or
pattern was slightly remodeled, but did not project beyond the
face of the wall. Next, it was covered in a thin layer of plaster
which when still wet was colored a flat tone. The colors were
limited in number, and gradations, showing highlights, shades,
or shadows, were not indicated. In the interior buildings the
walls were often faced with soft limestone slabs that were
decorated with colored carvings in low relief. Color was
produced from stone/minerals/plants of the area.
Egyptian murals decorations included representations of actions
in the daily life of the individual, allegorical and religious
events, and many other scenes that have given historians an
accurate and detailed knowledge of Egyptian civilization. In the
great Temple of Queen Hatshepsut, the interior natural rock
walls were covered with brilliant paintings of her activities and
hobbies. Other rooms depict with astonishing accuracy the Nile,
its boats and barges, the flowers and birds, and the desert, or
every kind of wild animal is being hunted. The dancer, the
musician, the warrior, the peasant, and the trade worker are
represented. Humor and tragedy are shown accompanied with
brief sentences, jokes, and catchwords of the period. The
purpose of the murals was to tell a story, to record history, or to
show various consecutive faces of some event. Usually the
whole area of a wall surface was covered with figures, patterns,
or hieroglyphs (inscriptions), so that the eye would wander from
point to point and finally comprehend the whole story. No
central point of interest was placed in the mural composition,
and the declaration was intended to accentuate the wall, rather
than hide it.
The human figure was usually shown with the face, legs, and
the feet in profile, while the shoulders and one eye were drawn
as though seen from the front. The principles of perspective

6. drawing ignored in favor of symbolic conventions. Depth was
indicated by placing one figure above the other. Important
persons were drawn at large scale; the unimportance of slaves
and enemies was indicated by drawing them small in size.
Women were usually drawn smaller than men. Religious
symbolism was attached to most of the ornamental motifs. The
sun disk or globe and the vulture with outstretched wings were
considered symbols of protection. The sacred beetle or scarab
symbolized eternal life. The Lotus bud and flower were
extensively used in architecture sculpture and painted ornament;
they were symbols of purity, and the serpent was the badge of
royalty. Other motifs originating in Egyptian decoration
include the guilloche, palmette, wave pattern, and spiral.
Egyptian sculpture. The art of sculpture in the round was
developed to a high degree of perfection. Portraits in allegorical
figures such as the Sphinx and the falcon were produced in
great quantities. Figures were usually modeled in a state of
repose, symmetrically balanced, so that the best view could be
obtained from the front. Much Egyptian sculpture, because of
the hardness of the stone from which it was carved, is extremely
simple in detail. The surfaces are smooth, and a dignified,
majestic effect is obtained by simple, vigorous masses. Many of
the stone statues were brightly colored in flat tones. Male
figures were usually shown with red faces and females with
light yellow skin. Exquisite and accurate copies of animals and
bird life were often modeled both in relief and in the round.
Egyptian furniture. Egyptian cabinetmakers and woodworkers
developed a high degree of technical ability. The houses of the
wealthy were furnished with chairs, stools, tables, and other
articles of great beauty, and a Greek historian informs us that
“from the earliest dynasty furnishings were of the greatest
luxury indicating an extravagant mode of life." Some of the
chairs were similar to a modern folding camp stool, while others

7. had elaborately carved legs, backs, and arms. Many of the
chairs were very low, which oblige the occupants to sit in a
cramped position, but as they had been accustomed to squatting
on the floor, this was not considered an inconvenience. The
most characteristic feature in the chair and bed designs was the
use of a lion or dogleg forms. The hind leg of the animals
represented in the rear of the chair and the foreleg in the front
of the chair. The feet were carved paws placed on small blocks
of wood so that the ornamental portion would stand above the
straw matting which covered the floors. Lion, Swan, and duck
heads were frequently used to enrich portions of the furniture.
Ivory and ebony were used as inlay. Gold ornament in
symbolical motifs was also applied to the woodwork. Brightly
colored loose cushions were covered in cotton, painted leather,
and gold and silver fabric were used for comfort. The Egyptian
craftsman thoroughly understood his material. Knowing that
wood would warp, twist, split, and shrink, he treated his design
and construction so as to render these defects as negligible as
possible. Wood was used with proper economy. Comfort was
considered in shaping both the seat in the back of the chair to
fit the human form.
Egyptian accessories. From the earliest dates the affluent
Egyptian home was furnished with beautiful tableware made of
pottery, alabaster, bronze, gold, and silver. Linen, constantly
washed, was always marked with the owner's name and was kept
in baskets and chess. The Egyptians also possessed personal
accessories of great beauty made of gold, enamel, precious
gems, and other materials, which show how lugs luxurious was
the life of the upper classes. Direct evidence of the elaborate
character of these articles was given one, in the tomb of the
mother of Cheops, builder of the great pyramid, personal
objects were discovered that were fashioned of precious metals
and jewels, and finished in the most perfect technique. There
were gold basins, gold and enamel embossed chess, and gold
toilet articles enriched with rare stones. A bed and chair of

8. wood were covered with gold plaques. There was also a great
wooden framework for draperies to hang over her throne when
her soul returned to her body. The exquisite detail in these
pieces shows the perfection of Egyptian Egyptian craftsmanship
even at a date previous to the building of the pyramids.
Egyptian art was fundamentally an honest aesthetic expression
of the inhabitants of Egypt. The use of materials was always
consistent with its nature. Ornament was so designed that it was
calculated to increase rather than conceal the vigor and purpose
of the structure and to heighten its characteristic beauty and
texture. Limited as the craftsman were in variety of materials
and tools, and having behind them a traditional conservatism
that was unchangeable throughout the centuries, there art
productions in every medium were carried to the limit of their
possibilities. The Egyptian artist, superbly skillful and
imaginative, accomplished the most that they could with the
means and knowledge they had; no greater compliment can be
paid to any art.
The architectural, furniture and decorative arts contributions of
every developing culture were influenced by the long-
established Egyptian culture.
MILESTONE ONE RESEARCH PROPOSAL INTRODUCTION
DRAFT 1
Milestone One: Research Proposal Introduction Draft
Victoria Kendall
Southern New Hampshire University

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MILESTONE ONE RESEARCH PROPOSAL INTRODUCTION
DRAFT 2
Milestone One: Research Proposal Introduction Draft
There is so much pressure in the world we live in today on kids
to excel in athletics so
they can be offered scholarships to play at the college level and
receive an education. Some of
these pressures are put on by parents, some by coaches and even
possibly teachers. These people
think that having a child specialize in one sport at an early age
and devoting all their time and
energy to that sport will help them to get better and excel at it.
They don’t realize that they could
potentially be putting the child at risk of specific overuse
chronic injuries, slowing their athletic
development and even hurting their mental and social
development.

10. Injuries are at an all-time high in children, especially lower
extremity injuries that can put
children out of athletics and impede their daily life for an
extended period, sometimes 4-6 weeks.
These injuries can come from the repetitive motions of playing
only one sport and playing that
sport all 365 days of the year. Children's bodies are developing,
their muscles and bones are
growing and shaping to what they will be for the rest of their
lives. They weren’t necessarily
built to throw a baseball, jump and shoot a basketball year -
round or perform the demands and
stresses of gymnastics (Hecimovich, 2004). Also, when parents
pull their children away from
other sports, they may be removing them from their friends and
isolating them from social
development opportunities (Hecimovich, 2004).
This study will investigate athletes who specialized in their
sport at a young age and what
effect that had on their bodies and compare it to athletes who
played multiple sports throughout
their lives. According to Bell, Lang, Valovich McLeod,
McCaffrey, Zaslow, & McKay, (2018)
“sport specialization is defined as intense, year-round training

11. in a single sport and may include
the exclusion of other sports” (p.241). The purpose of this study
is to determine whether
specializing in a sport is detrimental to athletes. The study will
look into if specializing in a sport
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MILESTONE ONE RESEARCH PROPOSAL INTRODUCTION
DRAFT 3
causes harm through amount of injuries sustained and general
social and mental well-being of
the athletes. This study asks what effect the specialization in
sports has on athlete's physical
development including the amount of injuries attained and
sociological development, such as
mental health and wellbeing. Hopefully this study can help to
educate coaches and parents to
encourage athletes to participate in multiple different sports and
all types of physical activity.

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MILESTONE ONE RESEARCH PROPOSAL INTRODUCTION
DRAFT 4
References:
1. Bell, D. R., Lang, P. J., Valovich McLeod, T.,C., McCaffrey,
K. A., Zaslow, T. L., &
McKay, S. D. (2018). Sport specialization is associated with
injury history in youth
soccer athletes. Athletic Training & Sports Health Care, 10(6),
241-246.
http://dx.doi.org.ezproxy.snhu.edu/10.3928/19425864-
20180813-01
2. Hecimovich, M. (2004) Sport specialization in youth: A
literature review. Journal of the
American Chiropractic Association, 41 (4). pp. 32-41.
https://eds-b-ebscohost-
com.ezproxy.snhu.edu/eds/pdfviewer/pdfviewer?vid=4&sid=097
ee223-6786-43d9-b17c-
ba760332291b%40sessionmgr101

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Egypt Glossary Terms – please find definitions and photos for
each of the following. Create a slide deck with a plate for each
of the terms. You may use more than one item on a plate/slide.
You may also provide more than one slide if you want to do so.
Be certain to provide full definition.
1. Cartouche
2. Cavetto cornice
3. Chevron
4. Colonnade
5. Egyptian columns
a. Lotus capital
b. Papyrus capital
c. Palm
d. Hathor
6. Cornice
7. Hieroglyphics
8. Hypostyle
9. Mastaba
10. Obelisk
11. Papyrus
12. Pylons
13. Pyramid

14. 14. Relief
15. Sphinx
16. Temples
17. Walls
Egyptian Mythological terms:
1. Amen/Amum
2. Ankh
3. Anubis
4. Cobra
5. Eve of Horus
6. Falcon head
7.Griffin
8. Hathor
9. Horus
10. Isis
11. Jackel head
12. Osiris
13. Pharoah
14. Ra/Sun God
15. Scarab
15. Solar Disk
17. Vulture
Egyptian Symbols
and
Decorative Motifs
• 2 are common:

15. • Guilloche [gi-lohsh] =
– curving wave pattern
• Chevron or zigzag =
– for the Nile or water
Winged Scarab
• Scarab - beetle
Symbol of the sun
god and life
• Scarab Amulet
– worn to ward off
evil, illness
– or to bring good
fortune
Ankh
Symbol of eternal life
Udjat
• Eye of Horus

16. – falcon headed god - protection
• Udjat = all-seeing eye
– human eye with falcon
• Udjat amulet
– royal power
– protection
– against sickness
– against death
The Cartouche• Oval with symbols
– Shape = protective border
– Encloses king’s name
– Includes an epithet =
words/ symbols of praise
Cartouche of King Tut
Wave = Nile
Amun = god
Ankh =

17. eternal life
King Tut = bird
Crook = ruler
Upper Egypt
Lower Egypt
Horus = falcon-headed sky god
Cartouche
Anubis = jackal
guardian of dead
Ankh = Life
Udjat = all-seeing eye
Egyptian Symbols
Tomb Painting -
Ramses I, Dynasty XIX,
1320-1318 B.C.
Egyptian Symbols

18. and
Decorative Motifs
• 2 are common:
• Guilloche [gi-lohsh] =
– curving wave pattern
• Chevron or zigzag =
– for the Nile or water
Winged Scarab
• Scarab - beetle
Symbol of the sun
god and life
• Scarab Amulet
– worn to ward off
evil, illness
– or to bring good
fortune
Ankh
Symbol of eternal life

19. Udjat
• Eye of Horus
– falcon headed god - protection
• Udjat = all-seeing eye
– human eye with falcon
• Udjat amulet
– royal power
– protection
– against sickness
– against death
The Cartouche• Oval with symbols
– Shape = protective border
– Encloses king’s name
– Includes an epithet =
words/ symbols of praise
Cartouche of King Tut

20. Wave = Nile
Amun = god
Ankh =
eternal life
King Tut = bird
Crook = ruler
Upper Egypt
Lower Egypt
Horus = falcon-headed sky god
Cartouche
Anubis = jackal
guardian of dead
Ankh = Life
Udjat = all-seeing eye
Egyptian Symbols
Tomb Painting -
Ramses I, Dynasty XIX,
1320-1318 B.C.