DOCSLIB.ORG

Amenhotep I Calcite Chapel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Amenhotep I Calcite Chapel Amenhotep I Calcite Chapel Originally built by Amenhotep I - 1525 BCE to 1504 BCE Modified by Hatshepsut - 1479 BCE to 1458 BCE Destroyed by: Thutmose III - 1479 BCE to 1425 BCE Other works initiated by Amenhotep I: Middle Kingdom Court, Amenhotep I Limestone Chapel Other works initiated by Hatshepsut: Obelisks of Festival Hall West Pair, Palace of Ma’at, 8th Pylon, Obelisks at Contra Temple, Obelisks of Wadjet Hall, Wad- jet Hall, Red Chapel, Pylon and Festival Court of Thutmose II Other works destroyed by Thutmose III: Red Chapel Other shrines: Amenhotep II Shrine, Contra Temple, Osiris Catacombs, Osiris Coptite, Osiris Heqa-Djet, Palace of Ma’at, Central Bark Shrine, Ramesses II Eastern Temple, Ramesses III Temple, Red Chapel, Sety II Shrine, Taharqo Kiosk, Thutmose III Shrine, White Chapel, Edifice of Amenhotep II, Chapel of Hakoris, Amenhotep I Limestone Chapel, Station of the King and Corridor Introduction The chapel of Amenhotep I was a roofed rectangular structure made of large blocks of calcite with access doors on its short sides. The interior relief scenes are the oldest surviving depictions of the sacred bark of the statue of the god Amun-Ra of Karnak. Each of the chapel’s exterior sides were decorated with a single scene related to temple festivals. The chapel has been reconstructed in modern times in the “open air museum” at Karnak. Measurements: The chapel is 3.6m across, 6.75m deep, and 4.5m high. Phase: Amenhotep I Amenhotep I built the chapel as a ritual space to house the bark of Amun-Ra. Wooden doors on the shrine’s short ends could be closed to protect the sanctity of the god. Left incomplete by Amenhotep I, the decoration on the chapel’s south wall was finished by Thutmose I. The chapel may have stood in the so-called “Middle Kingdom Court,” serving as the main bark shrine for the portable bark Amenhotep I Calcite Chapel in its existing state. Amenhotep I Calcite Chapel of Amun-Ra. Construction materials: white calcite (“Egyptian alabaster”), wood About the reconstruction model of this phase The digital model of the chapel was created based on the reconstruction drawings of Carlotti (1995: pl. XI). The chapel’s position in the center of the “Middle Kingdom Court” is based on the traditional assumption that the chapel functioned as the main bark shrine for the temple under Amenhotep I (Graindorge (1999: 173-175, Fig. 1; Blyth 2006: 34-36). Photographs of the chapel in the “open air museum” in Karnak were used to recreate the appearance of the interior and exterior walls of the struc- ture. A plain calcite stone pattern was used to decorate the roof. An alternative interpretation for the location for the calcite chapel is given by Graindorge in her more recent reconstruction of the early Amenhotep I form of Karnak (2002: fig. 4). Graindorge now argues that the calcite shrine may have stood in the temple forecourt, west of the later 4th pylon. A wooden chapel (no longer extant) would have served as the main shrine. Phase: Hatshepsut Hatshepsut may have moved the bark from the central area of the temple to a position along the southern festival processional, just south east of her new py- lon (pylon eight). In its place she erected her own bark shrine, the “red chapel.” Destruction: Thutmose III Thutmose III may have dismantled or moved the shrine, building an iden- Renderings of the Calcite Chapel tical calcite chapel near the seventh pylon. The king gave his new shrine as completed during the reign of the same name as the shrine of Amenhotep I. Where the Amenhotep I Amenhotep I. chapel was placed at this time is unknown. In the reign of Amenhotep III, the calcite chapel was used as fill in the king’s construction of the third pylon. About the reconstruction model of this phase If the calcite chapel did not function as the main shrine of the temple dur- ing the reign of Amenhotep I, the construction of the “red chapel” in the “Middle Kingdom Court” of the temple would have replaced Amenhotep © 2008 All rights reserved. Sullivan 2008, Amenhotep I Calcite Chapel. Digital Karnak. 2 Regents of the University of California. Amenhotep I Calcite Chapel I’s wooden shrine, not the calcite chapel. In this case, the calcite chapel could have remained in a forecourt of the temple, west of the 4th pylon. The chapel may have been incorporated later into the architecture of the Thutmose IV peristyle in the festival hall of Thutmose II (Letellier and Larché 2014: pls.3-7). (page updated 2015) Bibliography and Sources Used for Model Construction Carlotti, Jean-François (1995), “Contribution à l’ étude métrologique de quelques monuments du temple d’Amon-Rê à Karnak.” Cahiers de Karnak, vol. X, 65-127. Graindorge, Catherine (2002), “Der Tempel des Amun-Re von Karnak zu Beginn der 18.Dynastie,” in Ägyptologische Tempeltagung: Würzburg, 23.-26. Septem- ber 1999, vol. 5. : , 83-90. Graindorge, Catherine and Philippe Martinez (1999), “Programme architectural et iconographique des monuments d’Amenophis I a Karnak.” Annales du service des antiquités de l’Égypte, vol. 74, 169-182. Further reading Blyth, Elizabeth (2006), Karnak: evolution of a temple. London: Routledge. Graindorge, Catherine and Philippe Martinez (1989), “Karnak avant Karnak.” Bulletin de la Société française d’égyptologie, vol. 115, 36-55. Letellier, Bernadette and François Larché (2014), La cour à portique de Thout- mosis IV. Paris: Soleb. © 2008 All rights reserved. Sullivan 2008, Amenhotep I Calcite Chapel. Digital Karnak. 3 Regents of the University of California..
Load more

Recommended publications
  • Sources for the War of Reunification at the End of the Second Intermediate Period
    Sources for the War of Reunification at the end of the Second Intermediate Period Archaeological: body of Seqenenre-Taa campaign palace (?) at Deir el Ballas remarkably little else – destruction layers at Nubian forts? Literary: Two stelae set up at Karnak by Kamose Rhind Mathematical Papyrus insert (only source from Hyksos point of view!) Stela at Karnak set up by Ahmose for Ahhotep Tomb autobiographies of soldiers from el-Kab, especially Ahmose, son of Ibana Pictorial: relief scenes from the temple at Ahmose’s pyramid complex at Abydos Fortifications and palace at Deir el-Ballas Stela of Kamose, last king of Dynasty XVII From the stela of Ahhotep at Karnak, set up by Ahmose “She is the one who has accomplished the rites and taken care of Egypt... She has looked after her soldiers, she has guarded her, she has brought back her fugitives and collected together her deserters, she has pacified Upper Egypt and expelled her rebels.” From the Rhind Mathematical Papyrus insert: “Regnal year 11, second month of shomu, Heliopolis was entered. First month of akhet, day 23, this southern prince broke into Tjaru. Day 25 – it was heard tell that Tjaru had been entered. Regnal year 11, first month of akhet, the birthday of Seth – a roar was emitted by the Majesty of this god. The birthday of Isis – the sky poured rain.” Ahmose: first king of the 18th Dynasty Son of Seqenenre and Ahhotep Probably brother of Kamose Reunifies Egypt, extends warfare outside of Egypt Excerpts from autobiography of Ahmose son of Ibana “I followed the sovereign on foot when he rode about on his chariot.
    [Show full text]
  • Queens Egypt
    | OF QUEENS | EGYPT A new National Geographic exhibition in Washington, D.C., shines a light on the lives (and afterlives) of the royal women of ancient Egypt. From the founding queen of the New Kingdom, Ahmose-Nefertari, to Cleopatra VII, Egypt’s last queen and pharaoh—a span of more than 1,400 years. Martina Minas-Nerpel from Swansea University tells us that “while the king was the unquestioned political and religious figurehead of Egypt, queens had a complex role with more power than is usually recognized. Wife and mother, the Egyptian queen also had divine status, serving as the earthly embodiment of Hathor and thus ‘a regenerative medium for the king in his role as representative of the sun god on earth’ (Silke Roth, 2009).” Now, let’s have a closer look at some of the fabulous artefacts from Queens of Egypt. REPLICA BUST OF NEFERTITI, CA. A.D. 1913–1932. ORIGINAL: 18TH DYNASTY, REIGN OF AKHENATEN, CA. 1353–1336 B.C. RIJKSMUSEUM VAN OUHEDEN, LEIDEN, NETHERLANDS. CAT. F 1932/5.1. PHOTO BY MARK THIESSEN/ NATIONAL GEOGRAPHIC. QUEENS OF EGYPT EXHIBITION ORGANIZED BY POINTE-À-CAL- LIÈRE, MONTRÉAL ARCHAEOLOGY AND HISTORY COMPLEX AND MUSEO EGIZIO, TURIN, IN PARTNERSHIP WITH THE NATIONAL GEOGRAPHIC SOCIETY. SHOWING AT THE NATIONAL GEO- GRAPHIC MUSEUM, WASHINGTON, D.C., THROUGH TO 2 SEPT 2019. One of the most famous pieces of Egyptian art ever discovered. This replica bust of Nefertiti was produced soon after the original was discovered in 1912. The distinctive, flat-topped blue crown is unique to Nefer- titi, allowing us to identify the face.
    [Show full text]
  • WHO WAS WHO AMONG the ROYAL MUMMIES by Edward F
    THE oi.uchicago.edu ORIENTAL INSTITUTE NEWS & NOTES NO. 144 WINTER 1995 ©THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO WHO WAS WHO AMONG THE ROYAL MUMMIES By Edward F. Wente, Professor, The Oriental Institute and the Department of Near Eastern Languages and Civilizations The University of Chicago had an early association with the mummies. With the exception of the mummy of Thutmose IV, royal mummies, albeit an indirect one. On the Midway in the which a certain Dr. Khayat x-rayed in 1903, and the mummy area in front of where Rockefeller Chapel now stands there of Amenhotep I, x-rayed by Dr. Douglas Derry in the 1930s, was an exhibit of the 1893 World Columbian Exposition known none of the other royal mummies had ever been radiographed as "A Street in Cairo." To lure visitors into the pavilion a plac­ until Dr. James E. Harris, Chairman of the Department of Orth­ ard placed at the entrance displayed an over life-sized odontics at the University of Michigan, and his team from the photograph of the "Mummy of Rameses II, the Oppressor of University of Michigan and Alexandria University began x­ the Israelites." Elsewhere on the exterior of the building were raying the royal mummies in the Cairo Museum in 1967. The the words "Royal Mummies Found Lately in Egypt," giving inadequacy of Smith's approach in determining age at death the impression that the visitor had already been hinted at by would be seeing the genuine Smith in his catalogue, where mummies, which only twelve he indicated that the x-ray of years earlier had been re­ Thutmose IV suggested that moved by Egyptologists from a this king's age at death might cache in the desert escarpment have been older than his pre­ of Deir el-Bahri in western vious visual examination of the Thebes.
    [Show full text]
  • “The Sherden in His Majesty's Captivity”: a Comparative Look At
    1 “The Sherden in His Majesty’s Captivity”: A Comparative Look at the Mercenaries of New Kingdom Egypt Jordan Snowden Rhodes College Honors History Word Count (including citations and bibliography): 38098 Introduction----------------------------------------------------------------------------------------------------2 Chapter 1: How They Were Recruited---------------------------------------------------------------------6 Chapter 2: How They Fought------------------------------------------------------------------------------36 Chapter 3: How They Were Paid and Settled------------------------------------------------------------80 Conclusion: How They Were Integrated----------------------------------------------------------------103 Bibliography------------------------------------------------------------------------------------------------125 2 Introduction Mercenary troops have been used by numerous states throughout history to supplement their native armies with skilled foreign soldiers – Nepali Gurkhas have served with distinction in the armies of India and the United Kingdom for well over a century, Hessians fought for Great Britain during the American Revolution, and even the Roman Empire supplemented its legions with foreign “auxiliary” units. Perhaps the oldest known use of mercenaries dates to the New Kingdom of ancient Egypt (1550-1069 BCE). New Kingdom Egypt was a powerful military empire that had conquered large parts of Syria, all of Palestine, and most of Nubia (today northern Sudan). Egyptian pharaohs of this period were truly
    [Show full text]
  • Illuminating the Path of Darkness
    ILLUMINATING THE PATH OF DARKNESS: Social and sacred power of artificial light in Pharaonic Period Egypt This thesis is submitted for the degree of Doctor of Philosophy Meghan E. Strong Girton College University of Cambridge January 2018 Illuminating the path of darkness: social and sacred power of artificial light in Pharaonic Period Egypt Meghan E. Strong ABSTRACT Light is seldom addressed in archaeological research, despite the fact that, at least in ancient Egypt, it would have impacted upon all aspects of life. When discussing light in Egyptology, the vast majority of scholarly attention is placed on the sun, the primary source of illumination. In comparison, artificial light receives very little attention, primarily due to a lack of archaeological evidence for lighting equipment prior to the 7th century BC. However, 19th and 20th century lychnological studies have exaggerated this point by placing an overwhelming emphasis on decorated lamps from the Greco-Roman Period. In an attempt to move beyond these antiquarian roots, recent scholarship has turned towards examining the role that light, both natural and artificial, played in aspects of ancient societies’ architecture, ideology and religion. The extensive body of archaeological, textual and iconographic evidence that remains from ancient Egypt is well suited to this type of study and forms three core data sets in this thesis. Combining a materials- based examination of artificial light with a contextualized, theoretical analysis contributes to a richer understanding of ancient Egyptian culture from the 3rd to 1st millennium BC. The first three chapters of this study establish a typology of known artificial lighting equipment, as well as a lexicon of lighting terminology.
    [Show full text]
  • In the Tomb of Nefertari: Conservation of the Wall Paintings
    IN THE TOMB OF NEFERTAR1 IN THE TOMB OF NEFERTARI OF CONSERVATION THE WALL PAINTINGS THE J.PAUL GETTY MUSEUM AND THE GETTY CONSERVATION INSTITUTTE 1992 © 1992 The j. Paul Getty Trust Photo Credits: Guillermo Aldana, figs. I, 2, 4, 8-17, 30, 34-36, 38, cover, 401 Wilshire Boulevard, Suite 900 endsheets, title page, copyright page, table of contents; Archives of Late Egyp­ Santa Monica, California 90401 -1455 tian Art, Robert S. Bianchi, New York, figs. 18, 20, 22-27, 31-33,37; Cleveland Museum of Art, fig. 29; Image processing by Earthsat, fig. 7; Metropolitan Kurt Hauser, Designer Museum of Art, New York, figs. 6, 19, 28; Museo Egizio, Turin, figs. 5, 21 (Lovera Elizabeth Burke Kahn, Production Coordinator Giacomo, photographer), half-title page. Eileen Delson, Production Artist Beverly Lazor-Bahr, Illustrator Cover: Queen Nefertari. Chamber C, south wall (detail), before treatment was completed. Endsheets: Ceiling pattern, yellow five-pointed stars on dark blue Typography by Wilsted & Taylor, Oakland, California ground. Half-title page: Stereo view of tomb entrance taken by Don Michele Printing by Westland Graphics, Burbank, California Piccio/Francesco Ballerini, circa 1904. Title page: View of Chamber K, looking Library of Congress Catalogmg-in-Publication Data north. Copyright page: Chamber C, south wall, after final treatment-Table of In the tomb of Nefertari : conservation of the wall paintings, Contents page: Chamber C, south wall (detail), after final treatment. Tomb of p. cm. Nefertari, Western Thebes, Egypt. "Published on the occasion of an exhibition at the J. Paul Getty Published on the occasion of an exhibition atthej.
    [Show full text]
  • The New Kingdom and Its Aftermath
    A Short History of Egypt Part III: The New Kingdom and its Aftermath Shawn C. Knight Spring 2009 (This document last revised February 3, 2009) 1 The Early Eighteenth Dynasty The expulsion of the Hyksos was completed by Ahmose, thought by most Egyptologists to be the son of Seqenenre Ta'o II and the younger brother of Kamose. Ahmose brought order and unity to Egypt once more and drove the ruling Hyksos Fifteenth and Sixteenth Dynasties out of the land. He also gave great honors to the women of his family: his mother Queen Tetisheri, and his wife Queen Ahmose-Nefertari were regarded highly for generations to come. His son Amenhotep I, together with Ahmose-Nefertari, was actually worshipped as a god centuries later, as the protector of the royal cemeteries near Thebes. Amenhotep was succeeded by Thutmose I, who abandoned the Seventeenth Dynasty cemetery at Dra Abu el Naga in favor of a nearby valley. Thutmose's architect Ineni recorded that \I supervised the excavation of the cliff tomb of His Majesty alone, no one seeing, no one hearing."1 The valley became the burial site of choice for the rest of the New Kingdom pharaohs, as well as those courtiers (and even pets) whom they particularly favored, and is known to us today as the Valley of the Kings. Thutmose was succeeded by his son, Thutmose II. When Thutmose II died, he was succeeded by his second wife, Hatshepsut, the stepmother of the young heir, Thutmose III. Hatshepsut is perhaps the best-known of all the female pharaohs, with the possible exception of Cleopatra VII.
    [Show full text]
  • Kawai Transcript.Pdf
    Introduction: Welcome to the American Research Center in Egypt’s podcast. Each month, we will bring you the latest findings in Egyptological research and host engaging discussions about fascinating topics in Egyptian cultural heritage. Each of our guests are world renowned scholars in the fields of Egyptology, Islamic, Coptic, and modern Egyptian history, archaeology and much more. To suggest a topic for this program, please email us at [email protected]. We are also available on Apple, Spotify, Google or wherever you may listen to podcasts. If you enjoy this podcast, you can find out more about our other programs and activities, including virtual lectures and tours by visiting our website at arce.org. That's a r c e.org. You can also support our work by joining our mailing list, becoming a member or donating to support this podcast. This month's podcast focuses on King Tutankhamun’s court featuring Dr. Fatma Ismail, ARCE’s US Director of Outreach and Programs in conversation with our guest, Professor Nozomu Kawai of Kanazawa University in Japan. Thank you so much for joining us today and I hope you enjoy the episode. Fatma Ismail: Our guest on today's episode on King Tutankhamun is Professor Nozomu Kawai. He's professor of Egyptology at Kanazawa University, Japan, and the director of the North Saqqara project. His research focuses on the history, art and archaeology of the New Kingdom, Egypt, with a particular emphasis on the period from the late 18th dynasty to the 19th dynasty. He obtained his PhD on the reign of Tutankhamun in 2006 and he's currently working for the revision of his original dissertation for publication.
    [Show full text]
  • The Gazelle in Ancient Egyptian Art Image and Meaning
    Uppsala Studies in Egyptology - 6 - Department of Archaeology and Ancient History Uppsala University For my parents Dorrit and Hindrik Åsa Strandberg The Gazelle in Ancient Egyptian Art Image and Meaning Uppsala 2009 Dissertation presented at Uppsala University to be publicly examined in the Auditorium Minus of the Museum Gustavianum, Uppsala, Friday, October 2, 2009 at 09:15 for the degree of Doctor of Philosophy. The examination will be conducted in English. Abstract Strandberg, Åsa. 2009. The Gazelle in Ancient Egyptian Art. Image and Meaning. Uppsala Studies in Egyptology 6. 262 pages, 83 figures. Published by the Department of Archaeology and Ancient History, Uppsala University. xviii +262 pp. ISSN 1650-9838, ISBN 978-91-506-2091-7. This thesis establishes the basic images of the gazelle in ancient Egyptian art and their meaning. A chronological overview of the categories of material featuring gazelle images is presented as a background to an interpretation. An introduction and review of the characteristics of the gazelle in the wild are presented in Chapters 1-2. The images of gazelle in the Predynastic material are reviewed in Chapter 3, identifying the desert hunt as the main setting for gazelle imagery. Chapter 4 reviews the images of the gazelle in the desert hunt scenes from tombs and temples. The majority of the motifs characteristic for the gazelle are found in this context. Chapter 5 gives a typological analysis of the images of the gazelle from offering processions scenes. In this material the image of the nursing gazelle is given particular importance. Similar images are also found on objects, where symbolic connotations can be discerned (Chapter 6).
    [Show full text]
  • Creativity and Innovation in the Reign of Hatshepsut
    iii OccasiOnal prOceedings Of the theban wOrkshOp creativity and innovation in the reign of hatshepsut edited by José M. Galán, Betsy M. Bryan, and Peter F. Dorman Papers from the Theban Workshop 2010 The OrienTal insTiTuTe OF The universiTy OF ChiCaGO iv The Oriental Institute, Chicago © 2014 by The university of Chicago. all rights reserved. Published 2014. Printed in the united states of america. series editors Leslie Schramer and Thomas G. Urban with the assistance of Rebecca Cain Series Editors’ Acknowledgment Brian Keenan assisted in the production of this volume. Cover Illustration The god amun in bed with Queen ahmes, conceiving the future hatshepsut. Traced by Pía rodríguez Frade (based on Édouard naville, The Temple of Deir el Bahari Printed by through Four Colour Imports, by Lifetouch, Loves Park, Illinois USA The paper used in this publication meets the minimum requirements of american national standard for information services — Permanence of Paper v table of contents Preface. José M. Galán, Spanish National Research Council, Madrid ........................................... vii list of abbreviations .............................................................................. xiii Bibliography..................................................................................... xv papers frOm the theban wOrkshOp, 2010 1. innovation at the Dawn of the new Kingdom. Peter F. Dorman, American University of Beirut...................................................... 1 2. The Paradigms of innovation and Their application
    [Show full text]
  • 1. INTERNAL DEVELOPMENTS Reign of Amenhotep III Background • Son of Thutmose IV and Mutemwia • Thutmose Died When He Was 12
    1. INTERNAL DEVELOPMENTS Reign of Amenhotep III Background • Son of Thutmose IV and Mutemwia • Thutmose died when he was 12 and Amenhotep was advised by his mother in the early years of his reign • Inherited a reign of great peace and prosperity from his father; had to maintain rather than expand or improve • Married to his Great Royal Wife Tiye by the second year of his reign • Promoted his eldest daughter, Sitamun, to Great Royal Wife • Entered into numerous of marriages with foreign princesses to ensure stable diplomatic relations These scarabs were issues throughout the Empire and boast about his hunting prowess. They promote the stereotypical image of the pharaoh as a great hunter, emphasising his strength and virility. Not always based in fact, but rather an artistic convention which symbolised the king’s fitness to rule and his triumph over the forces of L: Wild bull-hunt commemorative scarab chaos. R: Lion hunt commemorative scarab Building programs • Unprecedented, massive and ostentatious • Overseer or All the King’s Works, Amenhotep, son of Hapu, is behind most of it • Honoured the gods with building projects, but the nature and size of his projects may indicate that he was using the country’s resources to glorify himself Large and impressive. Contains relief showing Amun’s role in the divine birth and coronation of Amenhotep III. Temple of Amun at Luxor Pylons at Karnak Built a new pylon after demolishing the shrines and monuments of earlier pharaohs and using that rubble to fill his pylon. Lengthy inscription praises himself and Amen, and lists the gifts he had given to the temple.
    [Show full text]
  • The Stela of the Viceroy Usersatet (Boston MFA 25.632), His Shrine at Qasr Ibrim, and the Festival of Nubian Tribute Under Amenhotep II
    The Stela of the Viceroy Usersatet (Boston MFA 25.632), his Shrine at Qasr Ibrim, and the Festival of Nubian Tribute under Amenhotep II John Coleman Darnell Yale University N SPITE OF the surviving epigraphic and archaeological evidence concerning the Egyptian administration of Nubia during the New Kingdom, the personal aspects of colonial rule I are at best shadows behind the more prosaic evidence of prosopography and titles, architectural history and burial practices, that force etic analysis to march ahead of emic understanding of Egyptian and Nubian interactions.1 When any archaeological or epigraphic light shines on personal relationships within the administration, at least suggesting, if not revealing, the attitudes of various members of the colonial administration, and hinting at interactions between social strata in Nubia and Egypt, those who would understand Egyptian and Nubian culture may be expected to show interest. The stela of the Viceroy Usersatet from Semna,2 recording Amenhotep II’s personal transcription of his own royal decree to Usersatet, offering advice regarding interactions of Egyptians and Nubians within the viceregal administration, indeed casts some light on the interactions of king, viceroy, and Nubian members of the Egyptian bureaucracy in the south [fig. 1]. The seeming obscurity of the king’s advice, and the lack of transparency regarding the situation about which Amenhotep II offers that advice, have resulted in considerable modern attention to the text, but a certain looseness of interpretation has bedeviled many examinations of the inscription. Defining exactly what the Usersatet stela illuminates has proved to be elusive. Several Egyptological discussions of the inscription have fostered florid descriptions of the personality and character of Amenhotep II, in spite of the remaining uncertainties in properly 1 So S.T.
    [Show full text]