For the purpose we will use solution dilution equation:
c1V1=c2V2
Where, c1 - concentration of stock solution; V1 - volume of stock solution needed to make the new solution; c2 - final concentration of new solution; V2 - final volume of new solution.
c1 = 100%
c2 = 75%
V1 = 1 gal
V2 = ?
When we plug values into the equation, we get following:
100 x 1 = 75 x V2
V2= 100/75 = 1.33 gal
Now we can determine the necessary volume of water:
V(water)= V2 - V1 = 1.33 - 1 = 0.33 gal water should be added
Awnser: C. petrolium
See, petroleum (i.e. oil) is transformed into gasoline.
"Sometimes, petroleum and crude oil are used to mean the same thing, but petroleum itself is a broad range of petroleum products including crude oil itself. We use the term 'petroleum products after crude oil is refined in a factory." - <span>www.eschooltoday.com/energy/non-renewable-energy/what-is-petroleum.html</span>
Answer:
Explanation:
You can use the combined gas law:
You need to find P₂ when:
- T₁ = - 13.0 + 273.15 K = 260.15 K
- T₂ = 17.0 + 273.15 K = 290.15 K
Thus, clear P₂ from the equation, subsitute and compute:
P₂ = 0.26kPa ← answer
Since the factor P₁ has two significant figures, the result is limited to two significant figures.
Its not only important to study the properties of the painting, but also the surroundings and context of the damage. Many times, studying the entire scene carefully can lend clues as to how the damage was done, and it makes the process easier to reverse.
Art conservation is a very delicate process that takes time and patients. In essence, our job is to rewind time, without the use of a time machine. Knowing how the damage was done allows you to more easily work backwards to restore a piece. Also, its important to inspect the overall integrity of the piece before it is conserved. In some cases, selective conservation can be even more damaging to a piece.
In essence, and to answer the question most directly, it is important to fully inspect the piece before it is conserved so that it can be properly reconstructed in the most appropriate and least obtrusive fashion (generally, this is just basic repairs, and NOT following the same methods as the artist - using the same methods leads to ambiguity regard whom painted what, etc.). Repairs should always be done as discretely as possible, but all the while making it evident that the piece was repaired. This adds to its authenticity, etc. It should be noted that many conservation methods are highly controversial, and each shop/museum has their 'own way'.
<span>If you're looking for a more in depth look at how this process works, The National Gallery of Ireland recently published the process they used to restore a century-old Monet. While I don't necessarily agree with all of their choices (as I said, controversial), this does highlight the process quite well.</span>