1. The second one I hope this helps
Collectors and museums have a responsibility to return these artifacts to their country of origin if the artifacts were stolen through acts like colonization. Take Ancient Egypt, for example. British archaeologists and historians excavated the tombs of Pharaohs, completely ignoring that in Egyptian culture, the Pharaohs needed those artifacts the archaeologists extracted to safely travel to the afterlife. Taking these artifacts and bringing them back to Britain is detrimental to Egypt's history and culture, effectively stealing their heritage from them. But, museums also have a responsibility to spread easy access to history all across the world. They can do this, but with replicas of the artifacts instead of originals. This allows Egypt to keep its heritage in its own Pyramids and museums, while still being able to share that history with the world.
first there is ones then to the right there is a decimal you are going to be adding the "<em>ths" (</em>EX. hundredths, tenths, thousandths) so you are going to have 8 hundredths (.08)
1) <span>There are no records of Antonio Stradivari's birth, but based on the documentation of his age that accompanied his signature on some of the instruments he created late in his life, it is assumed that he was born in 1644. There is also little known about his youth. He was probably born in Cremona, Italy, the city where his family had been established for five centuries, and he was the son of Alessandro Stradivari. Cremona was a town that had been renowned for its master violin makers for nearly one hundred years. Its leading craftsman during Stradivari's early life was Niccolo Amati, who represented the third generation of his family to contribute to the development of the traditional violin style popular at the time. Stradivari was probably </span>apprenticed<span> (worked to learn a trade) to Amati by the early 1660s and under Amati's direction learned the craft of violin making.
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2) By 1666 Stradivari was producing instruments independently as well as continuing to work at his mentor's (an advisor and guide) shop, which he probably did until Amati's death in 1684. In 1667 he was married to Francesca Feraboschi and set up his own household and shop. The couple eventually had six children and two of their sons would follow in their father's footsteps as violin makers. In the decade or so before 1680 Stradivari created a wide variety of stringed instruments, including guitars, harps, lutes, and mandolins. He continued to follow Amati's basic design for violins, but during this time he began experimenting with improvements in tone and design.
The Stradivari family moved to a new house at No. 2, Piazza San Domenico in 1680, and the building would serve as the violin maker's home and workshop for the life. Here he matured in his art and created his greatest works, most notably the violins that set the standard for perfection in the music world. In the 1680s he continued to develop his own style, moving away from Amati's design to create a more solid-looking violin made of new materials and finishes. The resulting instruments during this time created a more powerful sound than earlier violins, and musicians from outside Cremona began to seek out instruments from his workshop as his fame grew. Upon Amati's death in 1684, Stradivari was considered the city's greatest violin maker.
Despite Stradivari's considerable success with his designs, he continued to look for ways to improve his violins. He succeeded in finding a deeper, fuller tone that was quite distinct from the lighter sounds of other Cremona instrument makers. Stradivari's wife died in 1698, and she was honored with a large funeral. In the summer of the following year, the craftsman married his second wife, Antonia-Maria Zambelli. He had five more children from this marriage, but none of them ever entered the instrument-making business.
