the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari 1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of Nefertari as well as factors that led to deterioration of the tomb of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS (Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation of the tomb of Nefertari because of the artistic value found in the tomb.
The tomb has some of the best examples of the nineteenth-dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened between the year 1904- 1987.
Most of the article did not cover the effects of the damages caused on the tomb adequately.
However the article covered some of the causes attributed to influence the degradation and deterioration of the tomb of Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904 all the way up to 1971.
The information found through the study is useful to the international objective of conserving the tomb of Nefertari as an archeological site (Wilson-Yang, & Burns, 1989).
When preserved the tomb acted as the main source of tourist attraction to the country
Causes of the destruction
The main issue responsible for the deterioration of the tomb of Nefertari is loss of paint and plaster strata.
The article identifies the two factors as the main reason for the damages and deterioration of the value of the tomb of Nefertari.
Causes of deterioration
One of the causes of deterioration of the tomb according to the article is flood water.
It is thought that flood water entered the tomb through the underground walls.
Absorption of water by the walls caused the paintings to fade.
The tomb is a major tourist attraction. Therefore, if the government does not protect the tomb, it is risking collection of revenue from the tomb.
Importance of the tomb
The tomb has some of the most valuable nineteenth-dynasty wall paintings, An artistic treasure of Egypt
The walls are painted with attractive and vibrant colors
THE Attractiveness attracts tourist FROM across the world
It is One of the major indicators for economic .
Running Head NEFERTARI1NEFERTARI 3Question I real.docxtodd581
Running Head: NEFERTARI 1
NEFERTARI 3
Question :
I really liked the subject about Nefertari and her tomb, because it is important to understand how archaeological finds are not always safe, once they’ve been excavated. Although it does make me sad to know the tomb is deteriorating, because of flood waters. With that, I think it may be better for them to seal the tomb to prevent any more damage, until they develop a way to stop the flood waters, but since this is a hot spot for tourism, I know that won’t happen. I would hate to see the tomb deteriorate even more, because of its importance in an archaeological perspective, and to Egypt’s culture. I do have a question about the art on the walls, did the article mention anything on what the art depicted? Because on the 9th slide, it mentions the importance of the art as indicators of economic development in Egypt, now is that for modern Egypt, or Ancient Egypt? Because I know the tomb is important for tourism, and I was wondering if the article mentioned anything about the art itself. Other than that great job on your presentation.
the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari 1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of Nefertari as well as factors that led to deterioration of the tomb of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS (Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation of the tomb of Nefertari because of the artistic value found in the tomb.
The tomb has some of the best examples of the nineteenth-dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened between the year 1904- 1987.
Most of the article did not cover the effects of the damages caused on the tomb adequately.
However the article covered some of the causes attributed to influence the degradation and deterioration of the tomb of Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904 all the way up to 1971.
The information found through the study is useful to the international objective of conserving the tomb of Nefertari as an arc.
Running Head NEFERTARI1NEFERTARI 3Question I real.docxglendar3
Running Head: NEFERTARI 1
NEFERTARI 3
Question :
I really liked the subject about Nefertari and her tomb, because it is important to understand how archaeological finds are not always safe, once they’ve been excavated. Although it does make me sad to know the tomb is deteriorating, because of flood waters. With that, I think it may be better for them to seal the tomb to prevent any more damage, until they develop a way to stop the flood waters, but since this is a hot spot for tourism, I know that won’t happen. I would hate to see the tomb deteriorate even more, because of its importance in an archaeological perspective, and to Egypt’s culture. I do have a question about the art on the walls, did the article mention anything on what the art depicted? Because on the 9th slide, it mentions the importance of the art as indicators of economic development in Egypt, now is that for modern Egypt, or Ancient Egypt? Because I know the tomb is important for tourism, and I was wondering if the article mentioned anything about the art itself. Other than that great job on your presentation.
the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari 1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of Nefertari as well as factors that led to deterioration of the tomb of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS (Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation of the tomb of Nefertari because of the artistic value found in the tomb.
The tomb has some of the best examples of the nineteenth-dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened between the year 1904- 1987.
Most of the article did not cover the effects of the damages caused on the tomb adequately.
However the article covered some of the causes attributed to influence the degradation and deterioration of the tomb of Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904 all the way up to 1971.
The information found through the study is useful to the international objective of conserving the tomb of Nefertari as an arc.
Running Head NEFERTARI1NEFERTARI 3Question I real.docxkathyledlow2rr
Running Head: NEFERTARI 1
NEFERTARI 3
Question :
I really liked the subject about Nefertari and her tomb, because it is important to understand how archaeological finds are not always safe, once they’ve been excavated. Although it does make me sad to know the tomb is deteriorating, because of flood waters. With that, I think it may be better for them to seal the tomb to prevent any more damage, until they develop a way to stop the flood waters, but since this is a hot spot for tourism, I know that won’t happen. I would hate to see the tomb deteriorate even more, because of its importance in an archaeological perspective, and to Egypt’s culture. I do have a question about the art on the walls, did the article mention anything on what the art depicted? Because on the 9th slide, it mentions the importance of the art as indicators of economic development in Egypt, now is that for modern Egypt, or Ancient Egypt? Because I know the tomb is important for tourism, and I was wondering if the article mentioned anything about the art itself. Other than that great job on your presentation.
the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari 1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of Nefertari as well as factors that led to deterioration of the tomb of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS (Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation of the tomb of Nefertari because of the artistic value found in the tomb.
The tomb has some of the best examples of the nineteenth-dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened between the year 1904- 1987.
Most of the article did not cover the effects of the damages caused on the tomb adequately.
However the article covered some of the causes attributed to influence the degradation and deterioration of the tomb of Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904 all the way up to 1971.
The information found through the study is useful to the international objective of conserving the tomb of Nefertari as an arc.
The Stability of the Tomb of Nefertari 1904-1987Author(.docxadkinspaige22
The Stability of the Tomb of Nefertari 1904-1987
Author(s): K. M. Wilson-Yang and George Burns
Source: Studies in Conservation, Vol. 34, No. 4 (Nov., 1989), pp. 153-170
Published by: Taylor & Francis, Ltd. on behalf of the International Institute for
Conservation of Historic and Artistic Works
Stable URL: https://www.jstor.org/stable/1506283
Accessed: 14-05-2020 10:00 UTC
REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/1506283?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
Taylor & Francis, Ltd., International Institute for Conservation of Historic and
Artistic Works are collaborating with JSTOR to digitize, preserve and extend access to
Studies in Conservation
This content downloaded from 131.252.96.10 on Thu, 14 May 2020 10:00:04 UTC
All use subject to https://about.jstor.org/terms
THE STABILITY OF THE TOMB OF NEFERTARI 1904-1987
K. M. Wilson-Yang and George Burns
Abstract-The conservation of the tomb of Nefertari
(No. 66, Valley of the Queens, Egypt) has attracted
international concern for many years. However, pre-
vious assessments of the stability of this complex
physicochemical system have been neither compre-
hensive in content nor unanimous in conclusions.
Here, using available photographic and diagrammatic
documentation from 1904, 1921, 1942, 1971 and 1987,
these assessments are examined and mechanisms of
deterioration are explored. It has been found that
although some paint and plaster loss had occurred in
the tomb of Nefertari prior to its discovery in 1904,
additional large losses appeared between 1904 and
1971. Degradation in the upper tomb levels is less
extensive than in the lower tomb levels. In the tomb as
a whole, loss of large areas of both paint and plaster
strata has slowed at least since 1971 and probably
earlier. However, paint layer deterioration in the form
of flaking has been continuous even when the tomb
was closed. The pattern and physical characteristics of
loss have shown that there are five interacting factors
which underlie the deterioration of the tomb of
Nefertari. Two intermittent but catastrophic factors
operate over a short period of time: direct entry of
flood-waters and the capillary absorption of trapped
flood-waters into the tomb walls. Flood-waters cause
immediate mechanical losses and absorbed waters
induce morphological changes in the wall paintings.
Absorbed waters con.
The Stability of the Tomb of Nefertari 1904-1987Author(.docxhoney690131
The Stability of the Tomb of Nefertari 1904-1987
Author(s): K. M. Wilson-Yang and George Burns
Source: Studies in Conservation, Vol. 34, No. 4 (Nov., 1989), pp. 153-170
Published by: Taylor & Francis, Ltd. on behalf of the International Institute for
Conservation of Historic and Artistic Works
Stable URL: https://www.jstor.org/stable/1506283
Accessed: 14-05-2020 10:00 UTC
REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/1506283?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
Taylor & Francis, Ltd., International Institute for Conservation of Historic and
Artistic Works are collaborating with JSTOR to digitize, preserve and extend access to
Studies in Conservation
This content downloaded from 131.252.96.10 on Thu, 14 May 2020 10:00:04 UTC
All use subject to https://about.jstor.org/terms
THE STABILITY OF THE TOMB OF NEFERTARI 1904-1987
K. M. Wilson-Yang and George Burns
Abstract-The conservation of the tomb of Nefertari
(No. 66, Valley of the Queens, Egypt) has attracted
international concern for many years. However, pre-
vious assessments of the stability of this complex
physicochemical system have been neither compre-
hensive in content nor unanimous in conclusions.
Here, using available photographic and diagrammatic
documentation from 1904, 1921, 1942, 1971 and 1987,
these assessments are examined and mechanisms of
deterioration are explored. It has been found that
although some paint and plaster loss had occurred in
the tomb of Nefertari prior to its discovery in 1904,
additional large losses appeared between 1904 and
1971. Degradation in the upper tomb levels is less
extensive than in the lower tomb levels. In the tomb as
a whole, loss of large areas of both paint and plaster
strata has slowed at least since 1971 and probably
earlier. However, paint layer deterioration in the form
of flaking has been continuous even when the tomb
was closed. The pattern and physical characteristics of
loss have shown that there are five interacting factors
which underlie the deterioration of the tomb of
Nefertari. Two intermittent but catastrophic factors
operate over a short period of time: direct entry of
flood-waters and the capillary absorption of trapped
flood-waters into the tomb walls. Flood-waters cause
immediate mechanical losses and absorbed waters
induce morphological changes in the wall paintings.
Absorbed waters con ...
William EvansPost University Art History IA Trip t.docxambersalomon88660
William EvansPost University Art History I
A Trip to the Metropolitan Museum
The visit is blood-curdling and gives a fantastic experience
Metropolitan Museum of Art can easily fit among the famous legendary European museums
The museum is iconic Beaux-Arts façade
Visiting Metropolitan Museum of Art has left me recalling of that blood-curdling and fantastic experience. Being one of the world’s premier cultural institutions and houses, it significantly encompasses nearly everything from the ancient classics to the modern masters. With its iconic Beaux-Arts façade, Metropolitan Museum of Art can easily fit among the famous legendary European museums. Although it is distinctly American and New York experience, it is a melting pot of the spectacular art and the artifacts from across time and the world. Interestingly, the museum is fondly referred to as the Met and visitors can travel from as far as Paleolithic Egypt to the Neolithic Near East to experience their culture in the form of artifacts in the museum.
What I realized is that Met features a comprehensive collection of calligraphy, art and even ritual objects from Nepal, China, and Tibet. I was further fascinated by the artifact of Sarcophagus of Junius Bassus and ignited my curiosity, and I immediately yearned to know its origin and history of this magnificent artifact (Baetjer, 1999).
*
Sarcophagus of Junius Bassus
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus
used for the burial of Junius Bassus
the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus that was used for the burial of Junius Bassus, who is known to have died in 359. Importantly, it has then been described as the single most famous piece of early Christian relief sculpture. Originally, the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican. Moreover, is one of the oldest surviving high-status sarcophagi with clear and elaborate carvings of Christian themes with complicated iconographic plans that embrace both the old and new testaments.
*
Junius Bassus
Junius Bassus was a significant figure and a senator
headed the government capital as the Praefectus Urbi
Bassus converted to Christianity shortly at the verge of his death
Junius Bassus was a significant figure and a senator who was the head of the government capital as the Praefectus Urbi at the time of his death in 359 when he was 42 years. Just as the artifact of sarcophagus depicts, Bassus converted to Christianity shortly at the verge of his death (Stokstad, 2010).
*
Style and art of sarcophagus
the workmanship and cooperation were of the highest quality
the sculpture shows fewer features of the late antique style of sculpture
the sculpture ignores practically all the rules obeyed by official artifacts
reflects a blending of the late Hellenic style with the contemporary Roman and Ital.
Running Head NEFERTARI1NEFERTARI 3Question I real.docxtodd581
Running Head: NEFERTARI 1
NEFERTARI 3
Question :
I really liked the subject about Nefertari and her tomb, because it is important to understand how archaeological finds are not always safe, once they’ve been excavated. Although it does make me sad to know the tomb is deteriorating, because of flood waters. With that, I think it may be better for them to seal the tomb to prevent any more damage, until they develop a way to stop the flood waters, but since this is a hot spot for tourism, I know that won’t happen. I would hate to see the tomb deteriorate even more, because of its importance in an archaeological perspective, and to Egypt’s culture. I do have a question about the art on the walls, did the article mention anything on what the art depicted? Because on the 9th slide, it mentions the importance of the art as indicators of economic development in Egypt, now is that for modern Egypt, or Ancient Egypt? Because I know the tomb is important for tourism, and I was wondering if the article mentioned anything about the art itself. Other than that great job on your presentation.
the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari 1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of Nefertari as well as factors that led to deterioration of the tomb of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS (Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation of the tomb of Nefertari because of the artistic value found in the tomb.
The tomb has some of the best examples of the nineteenth-dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened between the year 1904- 1987.
Most of the article did not cover the effects of the damages caused on the tomb adequately.
However the article covered some of the causes attributed to influence the degradation and deterioration of the tomb of Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904 all the way up to 1971.
The information found through the study is useful to the international objective of conserving the tomb of Nefertari as an arc.
Running Head NEFERTARI1NEFERTARI 3Question I real.docxglendar3
Running Head: NEFERTARI 1
NEFERTARI 3
Question :
I really liked the subject about Nefertari and her tomb, because it is important to understand how archaeological finds are not always safe, once they’ve been excavated. Although it does make me sad to know the tomb is deteriorating, because of flood waters. With that, I think it may be better for them to seal the tomb to prevent any more damage, until they develop a way to stop the flood waters, but since this is a hot spot for tourism, I know that won’t happen. I would hate to see the tomb deteriorate even more, because of its importance in an archaeological perspective, and to Egypt’s culture. I do have a question about the art on the walls, did the article mention anything on what the art depicted? Because on the 9th slide, it mentions the importance of the art as indicators of economic development in Egypt, now is that for modern Egypt, or Ancient Egypt? Because I know the tomb is important for tourism, and I was wondering if the article mentioned anything about the art itself. Other than that great job on your presentation.
the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari 1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of Nefertari as well as factors that led to deterioration of the tomb of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS (Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation of the tomb of Nefertari because of the artistic value found in the tomb.
The tomb has some of the best examples of the nineteenth-dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened between the year 1904- 1987.
Most of the article did not cover the effects of the damages caused on the tomb adequately.
However the article covered some of the causes attributed to influence the degradation and deterioration of the tomb of Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904 all the way up to 1971.
The information found through the study is useful to the international objective of conserving the tomb of Nefertari as an arc.
Running Head NEFERTARI1NEFERTARI 3Question I real.docxkathyledlow2rr
Running Head: NEFERTARI 1
NEFERTARI 3
Question :
I really liked the subject about Nefertari and her tomb, because it is important to understand how archaeological finds are not always safe, once they’ve been excavated. Although it does make me sad to know the tomb is deteriorating, because of flood waters. With that, I think it may be better for them to seal the tomb to prevent any more damage, until they develop a way to stop the flood waters, but since this is a hot spot for tourism, I know that won’t happen. I would hate to see the tomb deteriorate even more, because of its importance in an archaeological perspective, and to Egypt’s culture. I do have a question about the art on the walls, did the article mention anything on what the art depicted? Because on the 9th slide, it mentions the importance of the art as indicators of economic development in Egypt, now is that for modern Egypt, or Ancient Egypt? Because I know the tomb is important for tourism, and I was wondering if the article mentioned anything about the art itself. Other than that great job on your presentation.
the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari 1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of Nefertari as well as factors that led to deterioration of the tomb of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS (Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation of the tomb of Nefertari because of the artistic value found in the tomb.
The tomb has some of the best examples of the nineteenth-dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened between the year 1904- 1987.
Most of the article did not cover the effects of the damages caused on the tomb adequately.
However the article covered some of the causes attributed to influence the degradation and deterioration of the tomb of Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904 all the way up to 1971.
The information found through the study is useful to the international objective of conserving the tomb of Nefertari as an arc.
The Stability of the Tomb of Nefertari 1904-1987Author(.docxadkinspaige22
The Stability of the Tomb of Nefertari 1904-1987
Author(s): K. M. Wilson-Yang and George Burns
Source: Studies in Conservation, Vol. 34, No. 4 (Nov., 1989), pp. 153-170
Published by: Taylor & Francis, Ltd. on behalf of the International Institute for
Conservation of Historic and Artistic Works
Stable URL: https://www.jstor.org/stable/1506283
Accessed: 14-05-2020 10:00 UTC
REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/1506283?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
Taylor & Francis, Ltd., International Institute for Conservation of Historic and
Artistic Works are collaborating with JSTOR to digitize, preserve and extend access to
Studies in Conservation
This content downloaded from 131.252.96.10 on Thu, 14 May 2020 10:00:04 UTC
All use subject to https://about.jstor.org/terms
THE STABILITY OF THE TOMB OF NEFERTARI 1904-1987
K. M. Wilson-Yang and George Burns
Abstract-The conservation of the tomb of Nefertari
(No. 66, Valley of the Queens, Egypt) has attracted
international concern for many years. However, pre-
vious assessments of the stability of this complex
physicochemical system have been neither compre-
hensive in content nor unanimous in conclusions.
Here, using available photographic and diagrammatic
documentation from 1904, 1921, 1942, 1971 and 1987,
these assessments are examined and mechanisms of
deterioration are explored. It has been found that
although some paint and plaster loss had occurred in
the tomb of Nefertari prior to its discovery in 1904,
additional large losses appeared between 1904 and
1971. Degradation in the upper tomb levels is less
extensive than in the lower tomb levels. In the tomb as
a whole, loss of large areas of both paint and plaster
strata has slowed at least since 1971 and probably
earlier. However, paint layer deterioration in the form
of flaking has been continuous even when the tomb
was closed. The pattern and physical characteristics of
loss have shown that there are five interacting factors
which underlie the deterioration of the tomb of
Nefertari. Two intermittent but catastrophic factors
operate over a short period of time: direct entry of
flood-waters and the capillary absorption of trapped
flood-waters into the tomb walls. Flood-waters cause
immediate mechanical losses and absorbed waters
induce morphological changes in the wall paintings.
Absorbed waters con.
The Stability of the Tomb of Nefertari 1904-1987Author(.docxhoney690131
The Stability of the Tomb of Nefertari 1904-1987
Author(s): K. M. Wilson-Yang and George Burns
Source: Studies in Conservation, Vol. 34, No. 4 (Nov., 1989), pp. 153-170
Published by: Taylor & Francis, Ltd. on behalf of the International Institute for
Conservation of Historic and Artistic Works
Stable URL: https://www.jstor.org/stable/1506283
Accessed: 14-05-2020 10:00 UTC
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THE STABILITY OF THE TOMB OF NEFERTARI 1904-1987
K. M. Wilson-Yang and George Burns
Abstract-The conservation of the tomb of Nefertari
(No. 66, Valley of the Queens, Egypt) has attracted
international concern for many years. However, pre-
vious assessments of the stability of this complex
physicochemical system have been neither compre-
hensive in content nor unanimous in conclusions.
Here, using available photographic and diagrammatic
documentation from 1904, 1921, 1942, 1971 and 1987,
these assessments are examined and mechanisms of
deterioration are explored. It has been found that
although some paint and plaster loss had occurred in
the tomb of Nefertari prior to its discovery in 1904,
additional large losses appeared between 1904 and
1971. Degradation in the upper tomb levels is less
extensive than in the lower tomb levels. In the tomb as
a whole, loss of large areas of both paint and plaster
strata has slowed at least since 1971 and probably
earlier. However, paint layer deterioration in the form
of flaking has been continuous even when the tomb
was closed. The pattern and physical characteristics of
loss have shown that there are five interacting factors
which underlie the deterioration of the tomb of
Nefertari. Two intermittent but catastrophic factors
operate over a short period of time: direct entry of
flood-waters and the capillary absorption of trapped
flood-waters into the tomb walls. Flood-waters cause
immediate mechanical losses and absorbed waters
induce morphological changes in the wall paintings.
Absorbed waters con ...
William EvansPost University Art History IA Trip t.docxambersalomon88660
William EvansPost University Art History I
A Trip to the Metropolitan Museum
The visit is blood-curdling and gives a fantastic experience
Metropolitan Museum of Art can easily fit among the famous legendary European museums
The museum is iconic Beaux-Arts façade
Visiting Metropolitan Museum of Art has left me recalling of that blood-curdling and fantastic experience. Being one of the world’s premier cultural institutions and houses, it significantly encompasses nearly everything from the ancient classics to the modern masters. With its iconic Beaux-Arts façade, Metropolitan Museum of Art can easily fit among the famous legendary European museums. Although it is distinctly American and New York experience, it is a melting pot of the spectacular art and the artifacts from across time and the world. Interestingly, the museum is fondly referred to as the Met and visitors can travel from as far as Paleolithic Egypt to the Neolithic Near East to experience their culture in the form of artifacts in the museum.
What I realized is that Met features a comprehensive collection of calligraphy, art and even ritual objects from Nepal, China, and Tibet. I was further fascinated by the artifact of Sarcophagus of Junius Bassus and ignited my curiosity, and I immediately yearned to know its origin and history of this magnificent artifact (Baetjer, 1999).
*
Sarcophagus of Junius Bassus
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus
used for the burial of Junius Bassus
the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus that was used for the burial of Junius Bassus, who is known to have died in 359. Importantly, it has then been described as the single most famous piece of early Christian relief sculpture. Originally, the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican. Moreover, is one of the oldest surviving high-status sarcophagi with clear and elaborate carvings of Christian themes with complicated iconographic plans that embrace both the old and new testaments.
*
Junius Bassus
Junius Bassus was a significant figure and a senator
headed the government capital as the Praefectus Urbi
Bassus converted to Christianity shortly at the verge of his death
Junius Bassus was a significant figure and a senator who was the head of the government capital as the Praefectus Urbi at the time of his death in 359 when he was 42 years. Just as the artifact of sarcophagus depicts, Bassus converted to Christianity shortly at the verge of his death (Stokstad, 2010).
*
Style and art of sarcophagus
the workmanship and cooperation were of the highest quality
the sculpture shows fewer features of the late antique style of sculpture
the sculpture ignores practically all the rules obeyed by official artifacts
reflects a blending of the late Hellenic style with the contemporary Roman and Ital.
INTRODUCING THE WESTERN AND CLASSICAL ART TRADITIONS Grade-9-LLM-2-ARTS.pptSaint Joseph College
INTRODUCING THE WESTERN AND CLASSICAL ART TRADITIONS
Content Standards:
• The learner uses art elements and processes by synthesizing and applying prior knowledge and skills
• The learner understands arts as integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences
Performance Standards:
• The learner perform / participate competently in a presentation of a creative impression (verbal/nonverbal) of a particular artistic period
• The learner recognize the difference and uniqueness of the art styles of the different periods (techniques, process, elements, and principles of art)
In architecture and decorative art, ornament is a decoration used to embellish parts of a building or object.
Large figurative elements such as monumental sculpture and their equivalents in decorative art are excluded from the term; most ornament does not include human figures, and if present they are small compared to the overall scale.
Architectural ornament can be carved from stone, wood or precious metals, formed with plaster or clay, or painted or impressed onto a surface as applied ornament.
In other applied arts the main material of the object, or a different one such as paint or vitreous enamel may be used.
A wide variety of decorative styles and motifs have been developed for architecture and the applied arts, including pottery, furniture, metalwork.
In textiles, wallpaper and other objects where the decoration may be the main justification for its existence, the terms pattern or design are more likely to be used.
In textiles, wallpaper and other objects where the decoration may be the main justification for its existence, the terms pattern or design are more likely to be used.
NOTES - Module 3 Module Notes Ancient Aegean World and Emergence o.docxpoulterbarbara
NOTES - Module 3: Module Notes: Ancient Aegean World and Emergence of Greek Civilization
Module 3 presents two cultures of the Aegean: the Minoans of Crete, and the Mycenaean people on the Greek mainland. The rarity of written evidence from this period forces historians to rely on architectural remains and artifacts to interpret the cultures. We will do the same.
Two vibrant Aegean civilizations existed that were concurrent with Middle and New Kingdom Egypt. These were the cultures of the Minoans, based on the large island of Crete (c.1900-c.1450), and the Mycenaean people, based on today’s mainland Greece (c.1600-c.1100 BCE). These were not Greeks, but pre-Greek peoples. Very few written records survive, and so we do not have the same full picture of history here that we do for the Egyptians. Archaeological evidence, however, shows these cultures to be prosperous groups whose wealth was based on seafaring trade.
Late 19th and early 20th century digs have uncovered important citadel or palace complexes related to these groups. For the Minoans, the text concentrates on the Palace of Knossos on Crete. This labyrinthine structure included living quarters, mercantile areas, courtyards, a processional corridor, theaters and religious spaces. Surviving wall paintings have an informal, even playful quality. Pottery, an important art and export item, show painted motifs whose curling, free-floating forms derive from sea life and other nature subjects.
For the Mycenaean culture, the text concentrates on the hilltop site of Mycenae, for which this culture is named. Here, you will find massive defensive walls, evidence of palace architecture, and shaft graves which held gold funerary masks and decorative items of wealth, incorporating the same playful Minoan imagery.
In this module, you will also be introduced to the Greeks. These people migrated onto the Greek peninsula between 1200 and 1100 BCE, ending Mycenaean dominance there. History is sparce for several hundred years, but a strong Greek culture emerged around 800 BCE. We saw how important tradition and persistent conventions were to the Egyptians. The Greek culture contrasts with this traditionalism by embracing experimentation and exploration in everything from political systems, to philosophical ideas, to empirical science. Competition between the separate Greek city states helped spur on their seemingly modern notion of progress. In art, we also see experimentation and evolution of style. In this module, we can focus on pottery alone to see rapid style changes that form a traceable, linear progression. The four Greek pottery phases are Geometric, Orientalizing, Black Figure and Red Figure. Each style presents beautiful representation of Greek myths and legends, along with athletic events and secular Greek life.
Now that you have completed the module readings, please move to the next learning activity, Dissecting a Palace in Search of Minoan Culture.
Assignment -
The written documen ...
Architecture, History, and the Debate on Identity in Ethiopia,.docxrossskuddershamus
Architecture, History, and the Debate on Identity in Ethiopia, Ghana, Nigeria, and South
Africa
Author(s): Ikem Stanley Okoye
Reviewed work(s):
Source: Journal of the Society of Architectural Historians, Vol. 61, No. 3 (Sep., 2002), pp. 381-
396
Published by: University of California Press on behalf of the Society of Architectural Historians
Stable URL: http://www.jstor.org/stable/991791 .
Accessed: 04/01/2013 12:15
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
University of California Press and Society of Architectural Historians are collaborating with JSTOR to
digitize, preserve and extend access to Journal of the Society of Architectural Historians.
http://www.jstor.org
This content downloaded on Fri, 4 Jan 2013 12:15:20 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=ucal
http://www.jstor.org/action/showPublisher?publisherCode=sah
http://www.jstor.org/stable/991791?origin=JSTOR-pdf
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Architecture, History, and the Debate on Identity in
Ethiopia, Ghana, Nigeria, and South Africa
IKEM STANLEY OKOYE
University of Delaware
Q: Do you think that a modern Nigerian aesthetic is possible? artist Demas Nwoko, for example-to mount a challenge
A: A Nigerian aesthetic? On what would it be based that is as to the fledgling orthodoxy. Nwoko, who in the 1960s, as
solid as that on which Aalto's Finnish tradition or Tange's on the part of the pan-African art group Mbari-Mbayo, wrote
Japanese tradition was? profusely on the significance of Africa's past, was in the
1970s not only commissioned but actually constructed sev-
Maxwell Fry eral important projects. This series of threatening acts nev-
We must ... draw on our traditions. ertheless finally brought legitimacy to the idea that an
understanding of African architectural and art history could David Aradeon
produce buildings that not only would receive critical
Good and up-coming architects are coming to terms with the fact acclaim, but could secure further commissions for one who
that they live in Africa ... you need to look at what's indigenous. was juridically illegitimate.2
Ora Joubert Striving to inculcate an African sensibility in a twenti-
eth-century building, Nwoko created his circa 1967
Dominican chapel (and there is an irony here, of course) in
r~~P~~rer~f~ace~~ ~concrete, capturing the fluidity of an object formed in clay
Interestingly, the A.
the presentation talks in details about the ancient greek historical period and their architectural elements, arts and design. it also tells story on the mycenae and minoan civilizations
The Assignment consists of 3 Parts.Part I Journal 200 words s.docxrtodd17
The Assignment consists of 3 Parts.
Part I Journal 200 words single Sheet NO CITATION NEEDED.
Part II Essay 1 page. APA Style Citation required (Case Attached )
Part III PowerPoint 7 slides plus Front page and references Total 9 slides minimum
.
The assignment consists of a Discussion that should be at least .docxrtodd17
The assignment consists of a Discussion that should be at least 500 words and 2-4 page paper. Below are the Resources that can be used. Attached are the 2 DIFFERENT assignments.
Resources
Beerma, D. (2012). Advocacy handbook for social workers. National Association of Social Workers – North Carolina Chapter. Retrieved fromhttp://c.ymcdn.com/sites/naswnc.site-ym.com/resource/resmgr/Advocacy/Advocacyhandbook.pdf
Plummer, S.-B., Makris, S., & Brocksen, S. M. (Eds.). (2014). Social work case studies: Foundation year. Baltimore: MD: Laureate International Universities Publishing. [Vital Source e-reader].
"Working with Clients with Dual Diagnosis: The Case of Joe" (pp. 77–78)
Popple, P. R., & Leighninger, L. (2019). The policy-based profession: An introduction to social welfare policy analysis for social workers (7th ed.). Upper Saddle River, NJ: Pearson Education.
Chapter 8, “Mental Health and Substance Abuse” (pp. 161-191)
Humphreys, K., & McLellan, A. T. (2011). A policy-oriented review of strategies for improving the outcomes of services for substance use disorder patients. Addiction, 106(12), 2058–2066.
.
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INTRODUCING THE WESTERN AND CLASSICAL ART TRADITIONS Grade-9-LLM-2-ARTS.pptSaint Joseph College
INTRODUCING THE WESTERN AND CLASSICAL ART TRADITIONS
Content Standards:
• The learner uses art elements and processes by synthesizing and applying prior knowledge and skills
• The learner understands arts as integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences
Performance Standards:
• The learner perform / participate competently in a presentation of a creative impression (verbal/nonverbal) of a particular artistic period
• The learner recognize the difference and uniqueness of the art styles of the different periods (techniques, process, elements, and principles of art)
In architecture and decorative art, ornament is a decoration used to embellish parts of a building or object.
Large figurative elements such as monumental sculpture and their equivalents in decorative art are excluded from the term; most ornament does not include human figures, and if present they are small compared to the overall scale.
Architectural ornament can be carved from stone, wood or precious metals, formed with plaster or clay, or painted or impressed onto a surface as applied ornament.
In other applied arts the main material of the object, or a different one such as paint or vitreous enamel may be used.
A wide variety of decorative styles and motifs have been developed for architecture and the applied arts, including pottery, furniture, metalwork.
In textiles, wallpaper and other objects where the decoration may be the main justification for its existence, the terms pattern or design are more likely to be used.
In textiles, wallpaper and other objects where the decoration may be the main justification for its existence, the terms pattern or design are more likely to be used.
NOTES - Module 3 Module Notes Ancient Aegean World and Emergence o.docxpoulterbarbara
NOTES - Module 3: Module Notes: Ancient Aegean World and Emergence of Greek Civilization
Module 3 presents two cultures of the Aegean: the Minoans of Crete, and the Mycenaean people on the Greek mainland. The rarity of written evidence from this period forces historians to rely on architectural remains and artifacts to interpret the cultures. We will do the same.
Two vibrant Aegean civilizations existed that were concurrent with Middle and New Kingdom Egypt. These were the cultures of the Minoans, based on the large island of Crete (c.1900-c.1450), and the Mycenaean people, based on today’s mainland Greece (c.1600-c.1100 BCE). These were not Greeks, but pre-Greek peoples. Very few written records survive, and so we do not have the same full picture of history here that we do for the Egyptians. Archaeological evidence, however, shows these cultures to be prosperous groups whose wealth was based on seafaring trade.
Late 19th and early 20th century digs have uncovered important citadel or palace complexes related to these groups. For the Minoans, the text concentrates on the Palace of Knossos on Crete. This labyrinthine structure included living quarters, mercantile areas, courtyards, a processional corridor, theaters and religious spaces. Surviving wall paintings have an informal, even playful quality. Pottery, an important art and export item, show painted motifs whose curling, free-floating forms derive from sea life and other nature subjects.
For the Mycenaean culture, the text concentrates on the hilltop site of Mycenae, for which this culture is named. Here, you will find massive defensive walls, evidence of palace architecture, and shaft graves which held gold funerary masks and decorative items of wealth, incorporating the same playful Minoan imagery.
In this module, you will also be introduced to the Greeks. These people migrated onto the Greek peninsula between 1200 and 1100 BCE, ending Mycenaean dominance there. History is sparce for several hundred years, but a strong Greek culture emerged around 800 BCE. We saw how important tradition and persistent conventions were to the Egyptians. The Greek culture contrasts with this traditionalism by embracing experimentation and exploration in everything from political systems, to philosophical ideas, to empirical science. Competition between the separate Greek city states helped spur on their seemingly modern notion of progress. In art, we also see experimentation and evolution of style. In this module, we can focus on pottery alone to see rapid style changes that form a traceable, linear progression. The four Greek pottery phases are Geometric, Orientalizing, Black Figure and Red Figure. Each style presents beautiful representation of Greek myths and legends, along with athletic events and secular Greek life.
Now that you have completed the module readings, please move to the next learning activity, Dissecting a Palace in Search of Minoan Culture.
Assignment -
The written documen ...
Architecture, History, and the Debate on Identity in Ethiopia,.docxrossskuddershamus
Architecture, History, and the Debate on Identity in Ethiopia, Ghana, Nigeria, and South
Africa
Author(s): Ikem Stanley Okoye
Reviewed work(s):
Source: Journal of the Society of Architectural Historians, Vol. 61, No. 3 (Sep., 2002), pp. 381-
396
Published by: University of California Press on behalf of the Society of Architectural Historians
Stable URL: http://www.jstor.org/stable/991791 .
Accessed: 04/01/2013 12:15
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
University of California Press and Society of Architectural Historians are collaborating with JSTOR to
digitize, preserve and extend access to Journal of the Society of Architectural Historians.
http://www.jstor.org
This content downloaded on Fri, 4 Jan 2013 12:15:20 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=ucal
http://www.jstor.org/action/showPublisher?publisherCode=sah
http://www.jstor.org/stable/991791?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
Architecture, History, and the Debate on Identity in
Ethiopia, Ghana, Nigeria, and South Africa
IKEM STANLEY OKOYE
University of Delaware
Q: Do you think that a modern Nigerian aesthetic is possible? artist Demas Nwoko, for example-to mount a challenge
A: A Nigerian aesthetic? On what would it be based that is as to the fledgling orthodoxy. Nwoko, who in the 1960s, as
solid as that on which Aalto's Finnish tradition or Tange's on the part of the pan-African art group Mbari-Mbayo, wrote
Japanese tradition was? profusely on the significance of Africa's past, was in the
1970s not only commissioned but actually constructed sev-
Maxwell Fry eral important projects. This series of threatening acts nev-
We must ... draw on our traditions. ertheless finally brought legitimacy to the idea that an
understanding of African architectural and art history could David Aradeon
produce buildings that not only would receive critical
Good and up-coming architects are coming to terms with the fact acclaim, but could secure further commissions for one who
that they live in Africa ... you need to look at what's indigenous. was juridically illegitimate.2
Ora Joubert Striving to inculcate an African sensibility in a twenti-
eth-century building, Nwoko created his circa 1967
Dominican chapel (and there is an irony here, of course) in
r~~P~~rer~f~ace~~ ~concrete, capturing the fluidity of an object formed in clay
Interestingly, the A.
the presentation talks in details about the ancient greek historical period and their architectural elements, arts and design. it also tells story on the mycenae and minoan civilizations
The Assignment consists of 3 Parts.Part I Journal 200 words s.docxrtodd17
The Assignment consists of 3 Parts.
Part I Journal 200 words single Sheet NO CITATION NEEDED.
Part II Essay 1 page. APA Style Citation required (Case Attached )
Part III PowerPoint 7 slides plus Front page and references Total 9 slides minimum
.
The assignment consists of a Discussion that should be at least .docxrtodd17
The assignment consists of a Discussion that should be at least 500 words and 2-4 page paper. Below are the Resources that can be used. Attached are the 2 DIFFERENT assignments.
Resources
Beerma, D. (2012). Advocacy handbook for social workers. National Association of Social Workers – North Carolina Chapter. Retrieved fromhttp://c.ymcdn.com/sites/naswnc.site-ym.com/resource/resmgr/Advocacy/Advocacyhandbook.pdf
Plummer, S.-B., Makris, S., & Brocksen, S. M. (Eds.). (2014). Social work case studies: Foundation year. Baltimore: MD: Laureate International Universities Publishing. [Vital Source e-reader].
"Working with Clients with Dual Diagnosis: The Case of Joe" (pp. 77–78)
Popple, P. R., & Leighninger, L. (2019). The policy-based profession: An introduction to social welfare policy analysis for social workers (7th ed.). Upper Saddle River, NJ: Pearson Education.
Chapter 8, “Mental Health and Substance Abuse” (pp. 161-191)
Humphreys, K., & McLellan, A. T. (2011). A policy-oriented review of strategies for improving the outcomes of services for substance use disorder patients. Addiction, 106(12), 2058–2066.
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Briefly describe the specific culture you selected, focusing on the gender roles of both males and the females.
Compare (similarities and differences) the gender roles in the culture you selected with the gender roles in your own culture. Use clear, concrete examples to make your comparisons.
Apply one of the following theories to explain the development of the male and the female role in each of the two cultures (your own and the culture you selected). Use clear, concrete examples to illustrate your points.
Discuss development of gender roles in at least three different areas of life (e.g., family, work, community, etc.)
Select your theory from the following:
Social Learning Theory
Cognitive Developmental Theory
Gender Schema Theory
Gender Script Theory
Finally, summarize your thoughts about how well your selected gender development theory explains gender development and why.
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The Assignment (3–4 pages)For this Assignment, perform the .docxrtodd17
The Assignment (3–4 pages):
For this Assignment, perform the following:
Identify and describe the core values of the agency.
Discuss the degree to which those core values are aligned with advocacy, leadership, or social change.
State how those core values contribute to the well-being of individuals, groups, societies, or international communities.
Identify and describe the mission of the agency, organization, or community.
Evaluate whether the mission statement is aligned with the core values of the agency, organization, etc.
Describe whether the mission statement promotes advocacy, leadership, or social change.
Discuss whether the mission statement provides evidence of how the agency/organization contributes to the well-being of individuals, groups, societies, or international communities.
Identify and describe the vision of the agency.
Evaluate whether the vision is aligned with the core values of the agency, organization, etc.
Describe whether the vision promotes advocacy, leadership, or social change.
Discuss whether the vision provides evidence of how the agency/organization contributes to the well-being of individuals, groups, societies, or international communities.
Identify and describe key stakeholders involved with the agency.
Discuss whether each stakeholder is internal or external to the agency/organization.
Describe the role each stakeholder has in the organization (i.e., leadership, management, staff, recipient of services, etc.).
Discuss how each stakeholder can be an essential element for gathering information to develop the strategic plan.
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The Assignment (1-page): The Reading to use for both paragraphs is under the following paragraph.
Write a short paragraph that would be considered an opinion. Write a second paragraph that would be considered a fact. Explain the differences between the two paragraphs. Explain how a reader would know if one statement is opinion and the other factual. Provide support in the research literature for the factual statement.
Study Notes What Is Critical Thinking?
By the Walden University Writing Center Staff
Critical reading and critical thinking are intertwined; one cannot quite do one without the other. Kurland (2000) noted that critical reading is about discovering information whereas critical thinking is about evaluating it. Various authors have offered different definitions of the critical-thinking process. Among the most useful definitions is the one provided by Scriven and Paul, who defined it as:
the intellectually disciplined process of actively and skillfully conceptualizing, applying, analyzing, synthesizing, and/or evaluating information gathered from, or generated by, observation, experience, reflection, reasoning, or communication, as a guide to belief and action. In its exemplary form, it is based on universal intellectual values that transcend subject matter divisions: clarity, accuracy, precision, consistency, relevance, sound evidence, good reasons, depth, breadth, and fairness. (1987, para. 1)
Another useful definition was provided by Elder (as cited in Critical Thinking Community, 2013), who defined it as “self-directed, self-disciplined, self-monitored, and self-corrective thinking. It requires rigorous standards of excellence and mindful command of their use. It entails effective communication and problem-solving abilities and a commitment to overcoming our native egocentrism and sociocentrism” (para. 4). Because graduate students are moving beyond being simply consumers of knowledge to learning how to make meaningful contributions to that knowledge, it is particularly important that they cultivate strong critical-thinking skills.
Like critical reading, critical thinking is an active process, and with practice one can develop the skills needed to do it more effectively. According to Kurland (2000), there are six key characteristics of critical thinking: rationality, self-awareness, honesty, open-mindedness, discipline, and judgment. Rationality has to do with exercising good judgment based on logic, self-awareness with knowing one’s individuality, biases, and so forth; honesty has to do with integrity and being able to be truthful about one’s biases; open-mindedness is about being able to appreciate differing viewpoints; discipline is about being self-controlled and being objective; and judgment is about being able to form an opinion about something based on the information presented. Each of these characteristics can be develop.
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Based on the theory demonstrated in one of the humanistic/experiential media resources:
Define the problem.
Formulate a theory-based treatment plan including short-term and long-term goals for the couple or family.
Describe two theory-based interventions you would use and justify your selection.
Explain one anticipated outcome of each.
Based on the theory demonstrated in the emotionally-focused media:
Define the problem.
Design a theory-based treatment plan including short- and long-term goals for the couple or family.
Describe two theory-based interventions you would use and justify your selection.
Explain one anticipated outcome of each.
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The Assignment (3–4 pages)Describe the concerns held by both .docxrtodd17
The Assignment (3–4 pages):
Describe the concerns held by both adoptive parents and adopted children in transracial families.
What other concerns would you add that were not discussed and why?
Explain how the concerns you discussed in the first two questions relate to the concept of double consciousness.
Discuss the advantages and disadvantages of race and ethnicity covering and passing.
Address how covering and passing can be used to both cause and resolve identity conflicts for both transracial adoptees and in general.
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The assessment portion of the nursing process is where the nurse.docxrtodd17
The assessment portion of the nursing process is where the nurse will collect data about the patient. This information will encompass physical findings, psychological, cultural, social, family, and nursing histories as well as accessing the medical record and obtaining diagnostic test results. A nurse should not implement interventions until a complete assessment has been done. Discuss.
Students will post to initial discussion before Wednesday January 13, 2021 @ 11:59 pm
Note: APA 7th edition is required.
Not less than 250 words
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The assignment (3 – 4 pages)Analyze the history of the profession.docxrtodd17
The assignment: (3 – 4 pages)
Analyze the history of the professional ethics or code of conduct within your area of interest in human services. Briefly describe:
Who developed it
Where it originated
How it evolved
What major changes/additions were made
Explain how the professional ethics or codes of conduct are enforced. Briefly describe:
Who or what groups enforce them
What processes/procedures are used to enforce and resolve disputes or violations
What consequences exist as a result of violations
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The Assignment (2–4 pages)Provide a transcript of what happen.docxrtodd17
The Assignment (2–4 pages):
Provide a transcript of what happened during your field education experience, including a dialogue of interaction with a client.
Explain your interpretation of what occurred in the dialogue, including social work practice theories, and explain how it might relate to diversity or cultural competence covered this week.
Describe your reactions and/or any issues related to your interaction with a client during your field education experience.
Explain how you applied social work practice skills when performing the activities during your process recording.
.
The articles about the 2011 horn of Africa famine note several dif.docxrtodd17
The articles about the 2011 horn of Africa famine note several different causal factors underlying this famine. So I'd like you to think about the fact that there are so many causes here. One task would be to list the causes referred to in the article. I’m going to do this one for you. Here is a list I've made, in part on the basis of another article (so you might not find each of these explicitly in the Mother Jones article). Once you have this list in mind, you may be able to think of others.
· Causes
· drought,
· leading to reduced food production
· Rising food prices
· Internal conflict between warring factions
· Poverty
· Lack of basic infrastructure and governance
· Climate change
· Other causes, sometimes said to be things the famine is blamed on
· US invasion of Somalia in December 1992
· Failure of donor countries to invest properly
· Committing < $200 million when $1 billion needed
· Al-Shabaab militia expelling WFP and other aid agencies
Notice that there is another distinction to be made: within the list, I’ve listed some of them separately as having to do (according to the article) with blame, not just cause. We can think about that later.
But now here’s what I want you to do for the exercise/discussion post:
a. First, say which of these factors you take to be the most “important”, and say why. (It would be great if you could pick just one and say why that's most important, but one problem here is that there are a number of things that can be meant by 'important'.) [about 100 words], AND
b. Second, draw a picture of how you see these different causal factors going together into an overall causal story or picture (which factors cause which other ones, etc.). [I’m assuming you have some way to create a picture that you can attach to your post (if only by drawing a picture in the real world and taking a picture of it with your phone); but if not, describe this as best you can with words.] Then comment on what insights you can get from having done this.
.
The Assignment (2–4 pages)Discuss something important you lea.docxrtodd17
The Assignment (2–4 pages):
Discuss something important you learned about yourself and how you learned it through introspection or through self-perception.
Do you have an interdependent view of yourself, an independent view of yourself, or both? What is your culture(s), and how does your culture(s) contribute to this view? Provide
one
example of how this view influences your behavior or your beliefs. Your example may include, but is not limited to: (a) how your interdependent or independent self-view influences what kinds of things make you feel especially proud, (b) how your interdependent or independent self-view influences what kinds of things make you feel especially embarrassed, and (c) how your interdependent or independent self-view influences the way you interact with others.
Then, select one specific aspect of your life, such as your role as a student, a spouse, a parent, an employee, or some other role, and apply the social comparison theory to this role.
Briefly discuss a time you engaged in
one
of the following types of self-justification: Justification of effort, external justification, internal justification, or justification of a good deed. What was the source of your cognitive dissonance and how did this self-justification reduce that dissonance?
.
The Assignment (2–3 pages)Your submission should include the.docxrtodd17
The Assignment (2–3 pages)
Your submission should include the following:
An explanation of how a correctional institution’s culture (e.g., norms, unwritten rules, customs, traditions) can influence the creation of ethical and potentially unethical policies and practices, and how those practices might impact inmates
A description of a specific policy or practice that you think presents an ethical dilemma in corrections, and an explanation of how that specific policy or practice creates the dilemma
An explanation of what steps corrections officials might take to maintain ethical conduct within a correctional facility
.
The assignment (2–3 pages)Explain the similarities and .docxrtodd17
The assignment: (2
–
3 pages)
Explain the similarities and differences between vicarious trauma and burnout.
Explain the similarities and differences between vicarious trauma and counter-transference.
Explain two implications vicarious trauma might have on the counseling process. Be specific.
Explain one insight you had or conclusion you drew for each comparison. Be specific.
.
The assignment (2–3 pages)Identify the human services adminis.docxrtodd17
The assignment (2–3 pages):
Identify the human services administrator and briefly share one example of how he or she provided transparency and accountability for his or her organization.
Explain three steps that you, as a human services administrator, can take to provide transparency and accountability to the public for an organization with which you are associated or one with which you are familiar.
Share an insight you had regarding any differences in the way that you might provide transparency and accountability in comparison to the human services administrator you selected from this week’s video.
Laureate Education (Producer). (2011).
Symbolic framework: Transparency and the public trust
[Video file]. Baltimore, MD: Author.
.
The Assignment (2–3 pages)Based on the program or policy ev.docxrtodd17
The Assignment: (2–3 pages)
Based on the program or policy evaluation you selected, complete the Healthcare Program/Policy Evaluation Analysis Template. Be sure to address the following:
Describe the healthcare program or policy outcomes.
How was the success of the program or policy measured?
How many people were reached by the program or policy selected?
How much of an impact was realized with the program or policy selected?
At what point in program implementation was the program or policy evaluation conducted?
What data was used to conduct the program or policy evaluation?
What specific information on unintended consequences was identified?
What stakeholders were identified in the evaluation of the program or policy? Who would benefit most from the results and reporting of the program or policy evaluation? Be specific and provide examples.
Did the program or policy meet the original intent and objectives? Why or why not?
Would you recommend implementing this program or policy in your place of work? Why or why not?
Identify at least two ways that you, as a nurse advocate, could become involved in evaluating a program or policy after 1 year of implementation.
.
The Assignment (2–3 pages)Explain the effects of sexual tra.docxrtodd17
The Assignment (2–3 pages):
Explain the effects of sexual trauma on Sandra.
Describe two specific interventions you might use to help Sandra deal with those effects.
Explain any cultural, ethical, and legal issues related to Sandra’s treatment.
Explain what might be different in the effects of the trauma and the interventions you might select if Sandra had been a male.
.
The article must be current to Law Enforcement or other Criminal.docxrtodd17
The article must be current to Law Enforcement or other Criminal Justice System issues.
One or two student(s) will be assigned a current event article to present via the following guidance:
1. You must attach the article, as well, complete a 1-page, 2-3 paragraph paper.
2. The 1-page paper must be typed, 1.5” paragraph spacing, Times New Roman, 12 font, 1” margins.
3. The paper should include an Intro, main points and counterpoints, summary and your personal thoughts.
.
The assigment is overdue now. I will up the price I am willing to pa.docxrtodd17
The assigment is overdue now. I will up the price I am willing to pay to have it done. It must be completed by the latest on the 8th. However I would greatly preffer for it to be finished on the 7th. I will add $20 to the price if you can complete it by then.
I need the files to run in Eclipse. Please upload them as such. See my file as an example.
They must be coded in java.
This is for a 200 level data structures class so please match that level accordingly.
I need java Test cases and comments please. (see my example file)
I have included part of the previous assigment so you can see what mine looks like and it also may have things you may need like map etc. Though I cannot guarantee all of it is working properly. (named example)
-----
The Task
Okay, we are finally going to finish off the Huffman application. Last week, we got to the point where we could build the tree and do some simple encoding and decoding. The problem with our technique is that we were converting text into Strings of 0s and 1s. Hopefully, the vast majority realized that this is the opposite of actual compression. Our goal was to
reduce
the number of bits required to encode a character. Instead, we blew it up, replacing one character with a whole String of them! Ouch.
So, we are going to do some bit level work, and learn how to write binary data out to files and read it back in again. The second issue that we have is that once we have an encoded file, we don't have a good way to decode it without first having the original source file, which rather defeats the purpose of compressing the file in the first place. Thus, we need to store a copy of the tree in the coded file. Of course, we want to store the tree in a format we can read back out again, and also doesn't take up too much room...
Background: Canonical form
We would like our Huffman codes to be
canonical
. I gave you an algorithm for picking which character to add next to your Huffman tree that comes close to producing canonical codes, but, sadly, I have to admit it has a flaw. There is an edge case that it can never compensate for. So, we are going to have to do some more work to get it into the canonical form.
The canonical form adds two rules to the way Huffman codes work. First, all codes of a given bit length have lexicographically consecutive values (i.e., not just in order, but immediately consecutive), in the same order as the symbols they represent, and second, shorter codes lexicographically precede longer ones. An example will make this a little clearer...
Suppose we have some piece of text in which the characters A,B,C,and D appear, with the following frequencies [A:1, B:5, C:6, D:2]. We could put these into a Huffman tree and come out with the following codes:
A
001
B
01
C
1
D
000
This is not in canonical form. The first rule is broken because A comes before D, but 000 should precede 001. The second rule is broken because C had a shorter code than B, but 01 precedes 1 lexicographically. Here.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
the article on the tomb of Nefertari ALYA AL HADDABI.docx
1. the article on the tomb of Nefertari
ALYA AL HADDABI
introduction
The article selected is “The stability of the tomb of Nefertari
1904-1987”.
Authors of the article are Wilson-Yand and George Burns.
The article aimed at explaining the importance of the tomb of
Nefertari as well as factors that led to deterioration of the tomb
of Nefertari .
introduction
The digging of the tomb of Nefertari began after Ramesses II
become the pharaoh of Egypt
Nefertari was the favorite queen of ramesses ii.
The tomb was discovered in 1904 in Egypt.
Currently is among the most elegant and most preserved tombS
(Habicht et al., 2016).
The tomb of queen Nefertari is of concern to most people
because of the valued artistic treasures found in the tomb.
Review of the article
There has been an international concern about the preservation
of the tomb of Nefertari because of the artistic value found in
the tomb.
The tomb has some of the best examples of the nineteenth-
2. dynasty wall
paintings.
Degradation and deterioration of the tomb of Nefertari happened
between the year 1904- 1987.
Most of the article did not cover the effects of the damages
caused on the tomb adequately.
However the article covered some of the causes attributed to
influence the degradation and deterioration of the tomb of
Nefertari.
Review of the article
The Article addresses the paint loss and some of the minor
losses that happened to the tomb before 1904.
Little has been covered about the massive damage that occurred
between 1904- 1971.
The aim of the Authors is to provide an in-depth understanding
of the damages that have occurred to the tomb of Nefertari.
History of the destruction
Destruction on the tomb occurred prior to its discovery in 1904
all the way up to 1971.
The information found through the study is useful to the
international objective of conserving the tomb of Nefertari as an
archeological site (Wilson-Yang, & Burns, 1989).
When preserved the tomb acted as the main source of tourist
attraction to the country
Causes of the destruction
The main issue responsible for the deterioration of the tomb of
Nefertari is loss of paint and plaster strata.
The article identifies the two factors as the main reason for the
3. damages and deterioration of the value of the tomb of Nefertari.
Causes of deterioration
One of the causes of deterioration of the tomb according to the
article is flood water.
It is thought that flood water entered the tomb through the
underground walls.
Absorption of water by the walls caused the paintings to fade.
The tomb is a major tourist attraction. Therefore, if the
government does not protect the tomb, it is risking collection of
revenue from the tomb.
Importance of the tomb
The tomb has some of the most valuable nineteenth-dynasty
wall paintings, An artistic treasure of Egypt
The walls are painted with attractive and vibrant colors
THE Attractiveness attracts tourist FROM across the world
It is One of the major indicators for economic development IN
EGYPT
Important archeological materials considered
The curved paintings on the wall of the tomb are important
factors that attract tourist to the tomb
The remains of the body found in the tomb
Calcium sulphate dehydrated part of the plaster that was eroding
which is another geographical feature that creates attention to
4. the tombs.
Important archeological materials considered
There was the loss of painting on the walls of the tomb over
time
The government after the discovery renovated the paintings and
tried to make them look new
This was To make the tomb more attractive as away of
promoting the tourism industry
Pictures on the right illustrate the walls before and after repairs
METHODS OF ANALYSIS
The method used to analyze the deterioration and destruction of
the tomb was use of artifact analysis method.
Trowels were used to scrap the dirt and soils on the paintings on
the wall. Trowels are the best tools to be used. (Kealhofer,
Torrence, & Fullagar, 1999).
The materials of interests which were the paintings and the
REMAINS OF THE BODY OF NEFERTARI were taken for
analysis.
Methods of analysis
Stratigraphy method was used on evidence obtained from the
tomb to determine the level of destruction and deterioration of
the tomb.
Layers of paintings on the walls of the tomb were used to
determine and date the artifacts obtained from the tomb.
It is believed that the lowest layer of the wall is the one that
5. was formed first.
Findings of the study
There is evidence of deterioration of paint and plaster on the
walls of the tomb after the discovery of the tomb in 1904
There was accelerated deterioration of paintings and plaster
between 1921-1942.
In the upper tomb levels there was progressive deterioration as
compared to the lower tomb levels.
Findings of the study
Evidence of deterioration of paintings and plaster at the tomb.
The images were damaged through the loss of painting on the
wall.
The image is a sample painting found in the walls of the tomb
nefertari.
Findings of the study
The tomb of Nefertari has been experiencing continuous loss of
paintings on the wall.
However, some parts of the tomb are still in stable conditions.
Since 1904 there has been human intervention at the tomb.
The government is aiming at conserving the value of the art in
the tomb.
6. Discussion of the findings
Flood water is the main contributing factor of paint loss in the
tomb, leading to its degradation and deterioration.
The flood water entered the tomb with force thus washing out
the paints on the walls causing the paintings of the wall of the
tomb to fade out.
Most of the paintings on the walls have been lost through the
flooding.
Discussion of the findings
Absorbed water also contributed to the loss of painting on the
walls.
The walls of the tomb absorbs water from the ground thus
making the paintings that are on the wall fade out (Asperen de
Boer, 1967).
There is need for a protective mechanism to be put in place by
the government since the tomb bears artistic treasures of Egypt.
Discussion of the findings
Sodium chloride has also contributed to the fading of paintings
on the wall of the tomb.
As water is absorbed by the wall it moves the chemical
composition of sodium chloride.
Sodium chloride reacts with the paint on the wall hence making
the paintings fade out.
conclusion
The tomb of Nefertari is a main tourist attraction in Egypt
because of the artistic value it has hence the paintings on the
7. wall.
There is need for protection so that the government can
continue benefiting from the revenue gotten from the tourists
who come to visit the place.
Since its discovery there has been progressive deterioration of
paintings on the wall.
Further conclusion
The main contributing factor to the destruction and
deterioration of the paintings are:
Floods,
Water absorbed by the wall
Deposition of sodium chloride on the wall
references
Asperen de Boer, J. V. (1967). Humidity in walls in relation to
the preservation of works of art. Studies in Conservation,
12(sup1), 109-117.References
Habicht, M. E., Bianucci, R., Buckley, S. A., Fletcher, J.,
Bouwman, A. S., Öhrström, L. M., ... & Böni, T. (2016).
Queen Nefertari, the royal spouse of Pharaoh Ramses II: a
multidisciplinary investigation of the mummified remains
found in her tomb (QV66). PloS one, 11(11).
Kealhofer, L., Torrence, R., & Fullagar, R. (1999). Integrating
phytoliths within use-wear/residue studies of stone tools.
Journal of archaeological Science, 26(5), 527-546.
Wilson-Yang, K. M., & Burns, G. (1989). The stability of the
tomb of Nefertari 1904–1987. Studies in conservation, 34(4),
153-170.
8. HOLMES INSTITUTE
FACULTY OF
HIGHER EDUCATION
HI5019 Strategic Information Systems for Business and
Enterprise Group Assignment
Assessment Details and Submission Guidelines
Trimester T1 2020
Unit Code HI5019
Unit Title Strategic Information Systems for Business and
Enterprise
Assessment Type Group assignment
Assessment Title Cyber Security Case Studies
Purpose of the
assessment (with ULO
Mapping)
Students are required to:
9. dologies and the role of
accountants in
system development projects (ULO 3)
-based systems/ERP,
including the role
of ethics and the various internal control processes that need to
be in place
(ULO 4)
cally evaluate the range of cultural, security, privacy and
ethical issues
facing individuals and organisations as a result of information
systems (ULO 5)
Weight 30% of the total assessments
Total Marks 30
Word limit Not more than 3,500 words
Due Date Week 11, Friday 5:00 pm (AEST)
Submission
Guidelines
- 4
students.
members to the
lecturer of their class by e-mail before the end of week 8.
along with a completed
Assignment Cover Page.
10. -
pt Arial font and 2 cm
margins on all four sides of your page with appropriate section
headings and page
numbers.
listed appropriately
at the end in a reference list using Harvard referencing style.
Page 2 of 6
HI5019 Strategic Information Systems for Business and
Enterprise Group Assignment
Assignment Specifications
Purpose
This assignment aims at developing your group’s understanding
of latest cyber security issues and
their impacts on business operations. Your group is required to
critically evaluate three recent cyber
security case studies and their lessons to business organisations.
Required
Your group is required to conduct a literature search and select
three (3) cyber security case studies
that are published between 2014 – 2019. Based on the selected
case studies, your group is required
to prepare a written report to cover the following points:
11. o General information of the company
o Key business processes of the company
o Key cyber security issues identified in each case
o Risks associated with the issues
o Impacts of the issues on case company
o Actions reported in each case to address the identified issues
o Outcomes of the reported actions
o Proposed actions other than the reported ones that could be
taken to address the
issues
o Suggestions for preventing the issues in future
Assignment Structure
The report should include the following components:
number
and with appropriate section
headings
12. The report should be grounded on relevant literature and all
references must be properly cited and included
in the reference list.
Page 3 of 6
HI5019 Strategic Information Systems for Business and
Enterprise Group Assignment
Group contribution
To ensure that all students participate equitably in the group
assignment and that students are
responsible for the academic integrity of all components of the
assignment. Your group needs to
complete the in a table similar to the following one which
identifies which student/students are
responsible for the various sections of the assignment.
Assignment Section Student/Students
The table needs to be completed and submitted with the
assignment as it is a compulsory component
required before any grading is undertaken.
13. Marks may be deducted if a student does not make sufficient
contribution to the assignment.
It is students' responsibility to provide evidence for their
contributions to the assignment in the event
of dispute.
Marking criteria
Marking criteria Weighting
General information of case companies 2%
Key business processes of case companies 2%
Key cyber security issues identified in each case 4%
Risks associated with the identified cyber security issues 3%
Impacts of the identified cyber security issues 3%
Actions reported to address the identified issues 4%
Outcomes of the reported actions 4%
Proposed actions other than the reported ones for addressing the
issues 2%
Suggestions for preventing the issues in future 2%
Presentation 2%
Research quality 2%
TOTAL Weight 30%
14. Page 4 of 6
HI5019 Strategic Information Systems for Business and
Enterprise Group Assignment
Marking Rubric
Excellent Very Good Good Satisfactory Unsatisfactory
General
Information of
case companies
/2
Provide clear,
concise and
accurate
information of
case companies.
Provide
complete and
accurate
information of
case companies.
Provide accurate
information of
case companies.
15. Provide
information of
case companies
that is mostly
accurate.
Fail to provide
accurate
information of
case companies.
Key business
processes of
case companies
/2
Identify all key
business
processes of
case companies.
Identify most key
business process
of case
companies.
Identify most key
business
processes of
case companies
with minor
errors.
Identify some
16. business
processes of
case companies
with errors
and/or
omissions.
Fail to identify
any key business
process of case
companies.
Key cyber
security issues
identified in each
case
/4
Identify all key
cyber security
issues identified
in the cases.
Identify most key
cyber security
issues identified
in the cases.
Identify most key
cyber security
issues identified
in the cases with
minor errors.
Identify some
17. key cyber
security issues
identified in the
cases with errors
and/or
omissions.
Fail to identify
any key cyber
security issue
identified in the
cases.
Risks associated
with the
identified cyber
security issues
/3
Present an
excellent
discussion on
risks associated
with the
identified cyber
security issues.
Present a very
good discussion
on risks
associated with
the identified
cyber security
issues.
18. Present a good
discussion on
risks associated
with the
identified cyber
security issues
with minor
errors and/or
omissions.
Present a
reasonable
discussion on
risks associated
with the
identified cyber
security issues
with errors
and/or
omissions.
Fail to present a
proper
discussion on
risks associated
with the
identified cyber
security issues.
Impacts of the
identified cyber
security issues
/3
Present an
19. excellent
discussion on
impacts of the
identified cyber
security issues.
Present a very
good discussion
on impacts of
the identified
cyber security
issues.
Present a good
discussion on
impacts of the
identified cyber
security issues
minor errors
and/or
omissions.
Present a
reasonable
discussion on
impacts of the
identified cyber
security issues
with errors
and/or
omissions.
Fail to present a
proper
discussion on
impacts of the
20. identified cyber
security issues.
Actions reported
to address the
identified issues
/4
Identify all
reported actions
for addressing
the identified
issues.
Identify most
reported actions
for addressing
the identified
issues.
Identify most
reported actions
for addressing
the identified
issues with
minor errors.
Identify some
reported actions
for addressing
the identified
issues with
errors and/or
omissions.
21. Fail to identify
any reported
action for
addressing the
identified issues.
Page 5 of 6
HI5019 Strategic Information Systems for Business and
Enterprise Group Assignment
Outcomes of the
reported actions
/4
Present an
excellent
discussion on
outcomes of the
reported actions.
Present a very
good discussion
on outcomes of
the reported
actions.
Present a good
discussion on
outcomes of the
reported actions
22. with minor
errors and/or
omissions.
Present a
reasonable
discussion on
outcomes of the
reported actions
with errors
and/or
omissions.
Fail to present a
proper
discussion on
outcomes of the
reported actions.
Proposed actions
other than the
reported ones
for addressing
the issues
/2
Propose
practical and
effective actions
based on strong
arguments.
Propose
practical and
effective actions
23. based on good
arguments.
Propose sound
actions based on
reasonably good
arguments.
Proposed sound
actions with
errors and
omissions based
on valid
arguments.
Fail to propose
proper actions
or back the
proposed
actions with
valid argument..
Suggestions for
preventing the
issues in future
/2
Present an
excellent
discussion on
suggestions for
preventing the
issues in future.
Present a very
24. good discussion
on suggestions
for preventing
the issues in
future.
Present a good
discussion on
suggestions for
preventing the
issues in future
with minor
errors and/or
omissions.
Present a
reasonable
discussion on
suggestions for
preventing the
issues in future
with errors
and/or
omissions.
Fail to present a
proper
discussion on
suggestions for
preventing the
issues in future.
Presentation
/2
25. Report included
all elements and
was very well
presented.
Writing flowed
clearly and
sections were
linked very
effectively.
Referencing was
exemplary.
English was used
very effectively
and was error-
free.
Report included
all elements and
was well
presented.
Writing flowed
clearly and
sections were
linked
effectively.
Referencing was
of a high
standard.
English was used
effectively with
very few errors
present.
Report included
all elements and
was generally
26. presented
appropriately.
Writing mostly
flowed well and
sections were
linked.
Referencing was
in accordance
with guidelines.
English was used
effectively with
few errors
present.
Report included
most elements
and was
adequately
presented.
Writing
sometimes did
not flow clearly
leaving the
paper to seem
disjointed in
areas.
Referencing was
somewhat in
accordance with
guidelines. Basic
English was used
with some
errors present.
Report lacked
some elements
27. and was poorly
presented.
Writing often
did not flow
clearly leaving
the paper to
seem somewhat
disjointed.
Referencing was
not entirely in
accordance with
relevant
guidelines. Basic
English was used
with errors
present.
Page 6 of 6
HI5019 Strategic Information Systems for Business and
Enterprise Group Assignment
Research Quality
/2
An extensive
amount of high-
quality evidence
from peer-
reviewed journal
articles and
28. other sources
was included
and used
effectively to
support
discussion.
A broad range of
quality peer-
reviewed journal
references and
other sources
was included
and used
effectively to
support
discussion.
An adequate
range of peer-
reviewed journal
references was
included and
used to support
discussion.
An adequate
range of peer-
reviewed journal
references was
included and
used to a basic
extent to
support
discussion.
29. Little or no peer-
reviewed journal
references were
included and
these were
rarely used to
support
discussion
effectively.
The Stability of the Tomb of Nefertari 1904-1987
Author(s): K. M. Wilson-Yang and George Burns
Source: Studies in Conservation, Vol. 34, No. 4 (Nov., 1989),
pp. 153-170
Published by: Taylor & Francis, Ltd. on behalf of the
International Institute for
Conservation of Historic and Artistic Works
Stable URL: https://www.jstor.org/stable/1506283
Accessed: 14-05-2020 10:00 UTC
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Studies in Conservation
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THE STABILITY OF THE TOMB OF NEFERTARI 1904-1987
K. M. Wilson-Yang and George Burns
Abstract-The conservation of the tomb of Nefertari
(No. 66, Valley of the Queens, Egypt) has attracted
international concern for many years. However, pre-
vious assessments of the stability of this complex
physicochemical system have been neither compre-
31. hensive in content nor unanimous in conclusions.
Here, using available photographic and diagrammatic
documentation from 1904, 1921, 1942, 1971 and 1987,
these assessments are examined and mechanisms of
deterioration are explored. It has been found that
although some paint and plaster loss had occurred in
the tomb of Nefertari prior to its discovery in 1904,
additional large losses appeared between 1904 and
1971. Degradation in the upper tomb levels is less
extensive than in the lower tomb levels. In the tomb as
a whole, loss of large areas of both paint and plaster
strata has slowed at least since 1971 and probably
earlier. However, paint layer deterioration in the form
of flaking has been continuous even when the tomb
was closed. The pattern and physical characteristics of
loss have shown that there are five interacting factors
which underlie the deterioration of the tomb of
Nefertari. Two intermittent but catastrophic factors
operate over a short period of time: direct entry of
flood-waters and the capillary absorption of trapped
flood-waters into the tomb walls. Flood-waters cause
immediate mechanical losses and absorbed waters
induce morphological changes in the wall paintings.
Absorbed waters contribute to the slower action of a
third deterioration factor, sodium chloride. Salt and
water movement and the eventual deposition of salt as
micro- and macrocrystals throughout the painting
substrate and surfaces undermine their structural sta-
bility. The chemical dehydration and associated
instability of the tomb plaster is a fourth factor. This
dehydration is suspected to be primarily the result of
a very dry pre- or post-flood environment within the
tomb. The mechanical damage caused by salt crystal
32. growth in the friable plasters is one way that sodium
chloride interacts with the plaster. Sodium chloride is
suspected also to have accelerated the process of loss
of chemically-bound water. The tomb materials, salt
and water interact in another, previously unrecog-
nized, slow process which is responsible for some
paint flaking. This flaking is consistent with the inter-
action of the painted layer with a fifth factor: air
humidity and its fluctuations. A four-stage, long-term
conservation scheme is suggested in this paper. It
involves the climatic and physical isolation of the orig-
inal, the consolidation of the walls, and the construc-
tion of a replica tomb.
1 Introduction
The kinetic investigation of slow deterioration
processes in archaeological systems in situ is
important in conservation science and archae-
ological chemistry [1]. This paper deals with one
such system, the tomb of Nefertari, Egypt, and
presents an assessment of the macroscopic
changes which have taken place in this tomb
from its discovery in 1904 [2] to 1987. Such an
assessment is necessary for the identification of
mechanisms of deterioration at this site as well as
for long-term conservation planning for the site
as a whole.
The tomb of Nefertari (No. 66, Valley of the
Queens, c. 1240 B.c.) has been recognized as one
of Egypt's most valued artistic treasures. Not
only is it the tomb of Ramesses II's favourite
queen, for whom the Temple of Hathor at Abu
33. Simbel was constructed, it also contains some of
the best examples of nineteenth-dynasty wall
paintings. This tomb and its Egyptological and
artistic content have been described elsewhere [2,
3].
The wall paintings in the tomb of Nefertari are
carved in relief and skilfully painted in colours
which still retain their remarkable brightness.
The tomb is constructed on two levels (Figure 1):
an upper set of chambers, and a lower set of
chambers at a depth of approximately 10m, con-
nected by a stairway. The lower chambers are
centred around the sarcophagus room, which is
supported by four columns. The Valley of the
Queens lies approximately 100m above the allu-
vial plain of the River Nile [4]. It is probable,
based on a geological survey of the Valley of the
Kings [4, 5], that the tomb of Nefertari was cut
in ancient limestone landslide deposits on top of
limestone interbedded with underlying expan-
sive Esna shale.
The tomb of Nefertari has been the subject of Received 4
October 1988
Studies in Conservation 34 (1989) 153-170 153
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K. M. Wilson-Yang and George Burns
34. B'
Fig 7
Fig 2
-Fig 3
Fig 8
Fig 5 0 m 5
Fig 6 / Fig 4 N
A B
B'
0 m 5
Figure 1 Plan of the tomb of Nefertari, after reference [3]. The
positions of the mural paintings which are
reproduced in this paper are marked with bold lines and
numbered according to the respective figures.
concern to the Egyptian Antiquities Organi-
zation (E.A.O.) and to the international com-
munity [1, 3, 6-10, 13] because of its structural
fragility. The plaster has, in many places, lost
both cohesion and adhesion. The plaster layer,
which in some places is as thick as 5cm, forms
the substrate on which the murals were carved,
coated with a thin white wall preparation [9] and
154 Studies in Conservation 34 (1989) 153-170
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The stability of the tomb of Nefertari 1904-1987
then painted. The calcium sulphate dihydrate
component of the plaster, which is its binding
agent, has completely dehydrated to anhydrous
calcium sulphate [1, 6, 9, 11] and the plaster as
a whole contains significant amounts of sodium
chloride dispersed at the submicroscopic level, as
found through a series of sensitive chemical
analyses [1, 11]. Furthermore, the plaster sub-
strate is riddled with sodium chloride crystals [1,
6, 12-15], from the microscopic to several cubic
centimetres in volume, and sodium chloride
efflorescence products appear on the painted
surfaces.
The limestone from which the tomb was cut is
highly jointed [12, 13] and contains geological
deposits of sodium chloride in the form of veins
and pockets [1, 6, 13]. Movement of sodium
chloride is possible in such a system and would
proceed either under the action of relatively rare
climatic events, e.g. sudden rainfalls or floods, or
by the more insidious and continuous action of
atmospheric moisture and, to a much smaller
degree, groundwater.
The problems of isolation, accessibility and
stability of the tomb of Nefertari have not been
well understood. However, it has been possible
36. to consider the tomb as a physicochemical sys-
tem [1, 6] in interaction with its geological [12,
13] and climatic [1] surroundings. Such an
approach has been useful when applied to the
Temples of Karnak [16], and is applicable
throughout'Egypt and elsewhere [1].
2 Descriptions, assessments and documentation
In 1904, at the time of excavation, the damage in
the tomb was described: 'because of the many
infiltrations of rain-water which had penetrated
in between the rock and the layer of stucco, the
latter had fallen in some parts and in others was
about to fall, making it necessary that our work
of consolidation be well devised and patient; this
work was directed by Professor Fabrizio
Lucarini, who was with our Mission' [2]. It was
said also that, despite their state of disrepair, the
scenes on the walls remained about two-thirds
intact [2]. It is significant that the appearance of
salt on the painted surfaces, which is prominent
now, was not reported in 1904.
The task of providing an assessment of the
stability of the tomb of Nefertari after 1904 was
complicated by its chemical, physical and geo-
logical diversity. Opinions on the extent and rate
of deterioration vary considerably from one
group to another. It was reported in 1942 [7] that
'the tomb of Queen Nefertari can be cited as an
example of (this) rapid destruction'. In
describing the damage it was asserted, but not
supported by direct evidence, that 'the coating
37. (plaster) soaked by humidity swells and becomes
detached from the wall... the swelling becomes
accentuated, the coating (plaster) caves in, frag-
ments after drying and falls' [7] and paintings
were seen to be 'extensively invaded by salt
which deposits as blackish-grey scabs on the col-
our' [7]. Shortly after 1942, access to the tomb
was restricted; it had previously been a well-
known attraction and was described in early
guidebooks [17, 18]. A UNESCO/ICCROM
committee visited the tomb in 1958 and 1969 [19]
and, in 1970, it reported that 'even in places
where the plaster is dangerously detached from
the rock wall, no important losses could be
found on comparing the original with the pic-
tures taken in 1904' and also '...the tomb does
not appear to have undergone any further deteri-
oration of significance. Its present condition
may therefore be regarded as stable' [8]. It was
stated in 1974 that 'on comparing the present
state of the ......paintings with these pictures
[Schiaparelli's, of 1904] they do not appear to
have undergone any significant deterioration
since their discovery' [9]. In 1982, it was reported
that the tomb had changed little between 1971
and 1977 and between 1977 and 1981 [6]. At the
other extreme, it has been said that 'since the
discovery of the tomb, its condition has suffered
considerably...' [3] and also 'the tomb has
suffered notably since its clearing eighty-three
years ago' [20]. This underlying dichotomy has
been recognized by the Egyptian Antiquities
Organization which has stressed that 'with
present facilities... this claim [of ref. 8] can be
quantified' [19]; subsequently, a record of the
1987 status of the visual deterioration of the
38. tomb of Nefertari has been compiled [21]. How-
ever, this 1987 status report appears to have been
prepared primarily as a guide for conservators
engaged in in situ protective consolidation and
does not deal explicitly with past rates of deteri-
oration.
In the present paper, the deterioration of the
tomb of Nefertari is examined using available
supporting photographs and diagrams from
Studies in Conservation 34 (1989) 153-170 155
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K. M. Wilson-Yang and George Burns
1904 [2], 1920-22, 1942 [7], 1971 [3] and 1987
[10].
In 1904, at the time of excavation, an incom-
plete set of photographs was made and repairs
were done [2]. The quality of the photographs is
variable but they are irreplaceable for the estab-
lishment of major post-1904 losses.
During the 1920-21 and 1921-22 seasons, the
Metropolitan Museum of Art Graphic Expedi-
tion made an extensive photographic record of
the tomb of Nefertari. The photographs
reproduced here are reprinted from contact
prints made from the original 8" by 14" glass
39. negatives from the archives of the Metropolitan
Museum of Art. Coloured copies of three scenes
from the upper chambers were painted at about
the same time [22]. However, a careful com-
parison of the 1921 photograph in Figure 6 and
the copy of the same scene [22] indicates that the
painting is based almost exactly on the 1920 pho-
tograph and therefore does not constitute a sep-
arate source. It is reasonable to assume that this
is also true for the other two painted scenes.
In 1942, photographs of extensively damaged
sections in the lower chambers were made, and
a set of diagrams was published which showed
areas of loss and potential loss of most of the
a
b
C
Figure 2 Nefertari adoring Hathor. (a) 1904 [2]. (b) 1921.
Photography by the Egyptian Expedition of the
Metropolitan Museum of Art, all rights reserved. (c) 1971,
from [3].
156 Studies in Conservation 34 (1989) 153-170
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40. The stability of the tomb of Nefertari 1904-1987
a
b
C
Figure 3 Nefertari before the First and Second Door
of the Domain of Osiris. (a) 1921. Photography by the
Egyptian Expedition of the Metropolitan Museum of
Art, all rights reserved. (b) 1942 [7]. (c) 1971, from
[3].
upper rooms and some of the stairwell [7]. The
areas of potential losses were investigated:
'... auscultation of these paintings and some
probing reveals large zones of coating (plaster)
detachment' [7] and these zones appear as the
hatched areas on the diagrams. Areas of loss
noted in the same diagrams were described as
'large fragments [which] already have fallen since
the opening of the tomb' [7]. We have found that
these diagrams are not exhaustive; many small,
unrepaired losses seen in the 1904 photos were
not noted. Inaccuracies exist in the diagrams:
some losses present in 1904 are erroneously
described as being post-discovery in the 1942
diagrams. Nevertheless, the 1942 diagrams are a
valuable source and represent the first use of
condition diagrams in the tomb of Nefertari.
Any true post-1904 losses have been verified
below by comparison with later photographs.
In 1971, the first colour documentation of the
41. tomb of Nefertari was made [3]. This publication
provides a photographic record coupled with the
architectural plan and documents the tomb
surface, excluding most of the ceiling.
Several colour photographs were reproduced
in 1987 [10]. These photographs are primarily
illustrative and were not meant as a complete
1987 documentation of the tomb.
It is perhaps surprising that a comparison of
all these sources has not been made before. The
reason for this appears to be that the documents
cited above do not represent a continuous body
of work. The 1904 excavation report [2] was con-
cerned primarily with the great Egyptological
significance of the site; photographs taken in
1920-22 were never published and the 1942
paper [7] was the first conservation-related docu-
ment to appear in the literature. The 1971 docu-
mentation followed a hiatus in published work
of approximately 31 years. However, this work
was not directed intrinsically toward conser-
vation. The most recent document, the 1987
report [10], is oriented specifically to conser-
vation studies in the tomb of Nefertari and not
to the rates of deterioration.
The tomb plan given in Figure 1 indicates the
location of the photographs and diagrams
reproduced here.
3 Comparisons
3.1 Evidence for general post-1904 deterioration
42. Paint and plaster losses occurred throughout the
tomb after 1904. A specific example is given in a
series of photographs of Nefertari adoring Hat-
hor (Figure 2). This panel is found on the north
Studies in Conservation 34 (1989) 153-170 157
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K. M. Wilson-Yang and George Burns
a
b
Figure 4 Isis and Re-Harakhty, seated. (a) 1904 [2].
(b) 1921. Photography by the Egyptian Expedition of
the Metropolitan Museum of Art, all rights reserved.
(c) 1942 [7]. (d) 1971, from [3].
wall of the lower small east chamber. The 1904,
1921 and 1971 photographs of this scene all
show areas of loss, especially in Hathor's body.
Although most of the losses occurred before
1904, by 1921 one can see the beginnings of
further losses of painted detail between the two
figures. There was some reinforcement of the
paint and plaster layers around the edges of the
losses: in the offertory flowers and in Nefertari's
abdomen, for example. By 1971, there had been
a steady loss of fragments in all regions of this
panel. Most of these subsequent losses were
43. replaced by blank infill repairs made after 1921.
3.2 Evidence for accelerated deterioration
1921-42
The photographs of the south-east wall of the
sarcophagus room (Figure 3) show that dra-
matic and extensive losses in all figures in this
panel had occurred between 1921 and 1942. The
lower right quadrant of this panel is especially
damaged. Losses which occurred between 1942
and 1971 in the panel of Figure 3 are difficult to
see because of the quality of the 1942 photo-
graph; they are minor in comparison with those
which had occurred in the years between 1921
and 1942. Initial repairs to this wall painting
were done before 1921; plaster drips can be seen
in the dado of Figure 3a. Additional repairs and
cleaning were performed before the 1942 photo-
graph was taken.
3.3 Evidence for progressive deterioration in the
upper tomb levels
It has been observed that the lower chambers of
the tomb have more losses than the upper cham-
bers [3, 6, 8, 12] and Figures 2 and 3 indicate that
these losses have been, in part, progressive since
1904. However, in the upper part of the tomb the
rate of deterioration has been progressive since
158 Studies in Conservation 34 (1989) 153-170
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The stability of the tomb of Nefertari 1904-1987
Bilh it11IIJ UIII1 il] 111111 11111111 u
c.
? . -I~gBJ.~i4.o ..
J;
r1
d
discovery. This point is illustrated by Figures 4
and 5. Figure 4 shows Isis and Re-Harakhty
from the east wall of the hallway to the upper
east chamber. A clear pattern of damage and
repair from 1904 to 1971 emerges from the
photographs of this panel. In 1904, losses in the
headdress of Isis had already occurred. Losses
can also be seen in the plinths of Isis and Re-
Harakhty, in Re-Harakhty's thigh and chest by
his bent arm, and in the dado panel under the
plinths. By 1921, losses in the headdress had
grown. In 1942, this damage was not recorded;
it is possible that it had been repaired before
1942. However, the 1942 diagram does show
more extensive losses in the Re-Harakhty plinth,
in Re-Harakhty's elbow and chest and in the left
hand of Isis. It is likely that this 1942 diagram
was used to guide repairs: the 1971 photograph
45. shows where most of the damage noted in the
1942 diagram was infilled and repainted. From
1971 to 1987 there has been no apparent loss (see
reference [20], figure 4).
Figure 5 shows Isis and Nephthys (right) from
the large west panel in the upper part of the
stairway. It also shows a pattern of loss and
repair. A large patch of the headdress of Isis had
fallen between 1904 and 1921 and, as in Figure
4 above, was apparently repainted before 1942.
Figure 5 also provides evidence of continuous
deterioration which resulted in losses between
1942 and 1971. In 1904 and 1921, the feet of
Nephthys could be seen. In 1942 her feet were
recorded as part of an area of plaster detach-
ment. By 1971, the loss in this area had not only
occurred but had been repaired. In 1921 the face
of Nephthys had not lost its paint layer (the light
patch on the 1904 photograph is due to uneven
lighting), and no loss was noted in 1942. But by
1971 the paint layer had been damaged. No
additional losses to this panel were noted in a
1987 diagram [21].
None of the losses in Figures 4 and 5 has been
Studies in Conservation 34 (1989) 153-170 159
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46. K. M. Wilson-Yang and George Burns
a
i
Figure 5 Isis (left) and Nephthys, seated. (a) 1904
[2]. (b) 1921. Photography by the Egyptian Expedi-
tion of the Metropolitan Museum of Art, all rights
reserved. (c) 1942 [7]. (d) 1971, from [3].
b
as great as the pre-discovery losses and the losses
between 1921 and 1942 in the sarcophagus room
painting shown in Figure 3.
3.4 Evidence for continuous paint layer loss
A more subtle change which has occurred in the
tomb of Nefertari is paint layer loss not obvi-
ously associated with plaster loss. This change is
exemplified in Figures 6 and 7. Figure 6 com-
pares the 1921 and 1971 [3] photographs of a
detail of an upper chamber wall showing a phoe-
nix (also identified as a heron [22]) and the god-
dess Nephthys as a hawk (or kite [22]).
Enlargement of paint layer losses in the tail and
wing of Nephthys are seen in the black outline of
the feathers in the 1971 photograph. In Figure 7,
the face of Isis (right) from a column in the
sarcophagus chamber shows the enlargement of
paint layer loss, especially in the pupil of the eye,
which has occurred between 1921 and 1987.
Losses in the eyebrow and over the corner of the
47. mouth became enlarged between 1971 and 1987.
Although apparently unreported, these types of
losses were recognized: the paint loss seen in
1904 and 1921 on the face of Isis near her mouth
was repaired sometime prior to the 1971 photo-
graph.
3.5 Evidence for stable areas in the tomb
The two photographs in Figure 8 are of the god-
dess Ma'at in the lintel of the doorway leading to
the sarcophagus chamber. Although paint layer
losses had occurred in the centuries preceding
discovery, there is no evidence of change
between 1904 and 1971. Furthermore, no change
could be seen in a 1987 photograph (see refer-
ence [20], figure 3) of this panel.
3.6 Evidence for periodic human intervention
since 1904
In every group of photographs in this paper,
except Figure 8, there is evidence of some human
160 Studies in Conservation 34 (1989) 153-170
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The stability of the tomb of Nefertari 1904-1987
C
48. A" 9 1iX
IWII
...4.W
|~~~~~~ ::'~
;' . . :.
e... ,. ; ... ,.
? ..= ..:;: . ' ...:
d
intervention. There were at least three sets of
repairs between 1904 and 1987. Schiaparelli
directed repairs [2] which may or may not be
identical to the pre-1921 repairs (Figures 2b, 3a
and 6a). Repairs were done before 1942 (Figures
3b, 4c and 5c). Some of these latter repairs may
be datable. For example, in 1977, in the lower
level of the tomb, a fragment of repaired painted
plaster was found by one of us (GB); it had been
backed with a piece of newspaper dated 1935.
Finally, Figures 4d and 5d provide evidence that
work was done in the tomb between 1942 and
1971.
4 Discussion
4.1 Effects offlood-waters
The lower level chambers of the tomb of
Nefertari have undergone the most damage, for
which groundwater, rain-water and flood-water
may be responsible. Groundwater is likely to
play a minor role at this site because of the great
49. depth of the water table in desert regions and the
shallowness of the tomb: the tomb is situated
approximately 2km from irrigated fields and is
only about 10m in depth (see Figure 1). Seepage
of rain-water solely in the lower levels is not
supported by observations. Although the tomb
ceiling has lost some paint and plaster in the
upper level as well as in the lower level, there is
little difference in the extent of losses between the
two levels. That the ceiling remains largely intact
suggests that seepage could not have been
important. However, direct entry of waters from
torrential rains is possible, especially if the door-
way is not sealed. The flow of water near the base
of the walls, and its entrapment in the lowest
levels of the tomb, may account for the large
losses in those areas. The painted dado panels on
the walls of the lower chambers and, to a lesser
extent, those of the upper walls, have suffered
losses; in the northernmost small chamber,
beyond the sarcophagus room (see Figure 1),
only approximately one quarter [3] of the wall
Studies in Conservation 34 (1989) 153-170 161
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K. M. Wilson-Yang and George Burns
a
50. Figure 6 Heron and Nephthys-as-a-bird. (a) 1921.
Photography by the Egyptian Expedition of the Met-
ropolitan Museum of Art, all rights reserved. (b) 1971,
from [3].
paintings remain. The upright sides of the
recessed floor of the sarcophagus chamber have
no decoration [3], so that flooding probably
occurred to a maximum depth of about two
thirds of a metre, that is, the height of these sides.
Flood damage in the tomb of Nefertari could
have resulted from one or a very few floodings.
The tomb of Seti I, in the Valley of the Kings,
was excavated in the 1816-17 season and by
1819 water had entered and caused damage in
the entire tomb [4]. The damage in the tomb of
Nefertari which was noted in 1904 suggested
that it was flooded before discovery [2], which is
possible only if water seeped through the rubble
in the entranceway.
The tomb was not adequately documented in
1904 [2] and a complete documentation was
made only in 1971 [3]; therefore any flooding
which resulted in the post-discovery damage in
the lower level probably occurred before 1942
(see section 3.2) and certainly before 1971. The
most recent reported flood in the Valley of the
Kings was in 1916. The Valley of the Queens has
a different drainage pattern than does the Valley
of the Kings, as assessed from aerial photo-
graphs [12] and topographical maps [4]. How-
ever, it is probable that the Valley of the Queens,
because of its proximity to the Valley of the
51. Kings, also experienced its most recent water
damage in 1916. It is known also that torrential
rainfalls occurred in the entire Theban Necropo-
lis yearly from 1906 to 1910 [4]. Thus flood-water
b
seems to be the most important factor
responsible for the major losses in the tomb.
4.2 Effects of absorbed water
In addition to any mechanical damage caused by
flowing waters, trapped water will rise by capil-
lary forces through the porous wall-painting
substrate and between the substrate and the
limestone walls. Therefore, murals above the
flood level in the lower chambers would have
been severely damaged. Some of these murals
have indeed collapsed, including those in the
northernmost chamber beyond the sarcophagus
room, while others needed immediate repair [8].
In 1942, the swelling and subsequent drying of
the plaster substrate was proposed as the mech-
anism responsible for large post-discovery losses
in the tomb [7]. Humidity was cited as the cause
of the swelling; it is more likely, given the proba-
bility of the direct entry of water as recently as
the first two decades of this century, that any
swelling or change in morphology was due to
162 Studies in Conservation 34 (1989) 153-170
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2020 10:00:04 UTC
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52. The stability of the tomb of Nefertari 1904-1987
b ... . i .............. Ab
. ... ........?
...... .... ..
:9.,
I m j[ I j (
i::"~~Q 1'
.:.........?....... ..
Aik
i ie
~pc IL_~1OEIO~ tNO.s
""'M
TT"'::~''_''~? ''*A
7s~ II
~q ?, ?Pow
AJ?'
Figure 7 Nefertari and Isis (right). (a) 1904 [2]. (b) 1921.
Photography by the Egyptian Expedition of the
Metropolitan Museum of Art, all rights reserved. (c) 1971,
from [3]. (d) 1987 [20]. Photo credit: Guillermo
Aldana, courtesy of the Getty Conservation Institute.
53. Studies in Conservation 34 (1989) 153-170 163
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2020 10:00:04 UTC
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K. M. Wilson-Yang and George Burns
a
Figure 8 Ma'at. (a) 1904 [2]. (b) 1971, from [3].
absorbed water. Thus, capillary action in the
flooded tomb appears to be the second most
important factor responsible for its deterio-
ration.
4.3 Effect of sodium chloride
As absorbed water moves to the drier surfaces of
the murals, it will carry with it the sodium chlo-
ride which is known to exist in the …
Question 3: I was sort of surprised to learn that the flood
waters contributed exponentially to the degradation of the
Nefertari tomb. Do you feel that pharaohs of that time period
were aware of the possible risk to tombs and burials posed by
the Nile River flooding? Do you feel that there are measures to
mitigate water related damages that archaeologist and Egyptian
officials could have taken or should take?
Question 4: I really enjoyed your presentation. I enjoyed the
way that it ended, with an almost call to action to help keep this
art in it's best condition. I wonder if there is a good way to
54. restore these paintings, as deterioration will still occur over
time and there is only so much we can do to prevent more loss
of the paintings?