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1 | 00:00:00,761 | 00:00:02,352 | (dramatic music) | (dramatic music) |
2 | 00:00:02,361 | 00:00:05,152 | Mastrelli: This face turned an all but forgotten woman | Mastrelli: This face turned an all but forgotten woman |
3 | 00:00:05,161 | 00:00:06,839 | Into a global icon. | Into a global icon. |
4 | 00:00:08,121 | 00:00:13,119 | She is nefertiti, revolutionary, queen of egypt. | She is nefertiti, revolutionary, queen of egypt. |
5 | 00:00:14,361 | 00:00:18,279 | But what if her modern reputation is built on a lie? | But what if her modern reputation is built on a lie? |
6 | 00:00:20,274 | 00:00:24,719 | Could the nefertiti bust be a stunning, sensational fake? | Could the nefertiti bust be a stunning, sensational fake? |
7 | 00:00:27,481 | 00:00:31,392 | For centuries the mysteries of the past | For centuries the mysteries of the past |
8 | 00:00:31,401 | 00:00:34,279 | Have kept their secrets, | Have kept their secrets, |
9 | 00:00:34,354 | 00:00:39,319 | But there are clues cast in gold, etched in stone, | But there are clues cast in gold, etched in stone, |
10 | 00:00:40,921 | 00:00:44,039 | Written in blood. (yelling) | Written in blood. (yelling) |
11 | 00:00:45,961 | 00:00:48,159 | We can unlock them. | We can unlock them. |
12 | 00:01:05,954 | 00:01:08,999 | Along with the pyramids, the face of tutankhamen, | Along with the pyramids, the face of tutankhamen, |
13 | 00:01:11,234 | 00:01:14,832 | And the sphinx, the head of nefertiti, | And the sphinx, the head of nefertiti, |
14 | 00:01:14,841 | 00:01:17,232 | Resplendent in its blue crown, | Resplendent in its blue crown, |
15 | 00:01:17,241 | 00:01:19,799 | Is one of egypt's defining symbols. | Is one of egypt's defining symbols. |
16 | 00:01:21,314 | 00:01:22,919 | This is the hope diamond. | This is the hope diamond. |
17 | 00:01:23,954 | 00:01:27,559 | At 45.52 carats, it's some serious bling. | At 45.52 carats, it's some serious bling. |
18 | 00:01:29,481 | 00:01:32,199 | Except it's not, it's a fake. | Except it's not, it's a fake. |
19 | 00:01:32,274 | 00:01:34,199 | The real one is in the smithsonian. | The real one is in the smithsonian. |
20 | 00:01:34,274 | 00:01:37,479 | These white gloves make it seem pretty authentic though. | These white gloves make it seem pretty authentic though. |
21 | 00:01:37,554 | 00:01:39,319 | And if you were tricked, | And if you were tricked, |
22 | 00:01:39,394 | 00:01:41,399 | It certainly wouldn't be the first time someone misjudged | It certainly wouldn't be the first time someone misjudged |
23 | 00:01:41,474 | 00:01:44,119 | A seemingly priceless artifact. | A seemingly priceless artifact. |
24 | 00:01:44,194 | 00:01:45,719 | Back in the 20th century, | Back in the 20th century, |
25 | 00:01:45,794 | 00:01:48,352 | The appetite for exotic antiques enabled a market | The appetite for exotic antiques enabled a market |
26 | 00:01:48,361 | 00:01:49,959 | Where even the smartest experts | Where even the smartest experts |
27 | 00:01:50,034 | 00:01:53,119 | And finest museums weren't immune to being duped. | And finest museums weren't immune to being duped. |
28 | 00:01:54,041 | 00:01:55,399 | Is that what happened when curators, | Is that what happened when curators, |
29 | 00:01:55,474 | 00:01:57,072 | Hungry for new discoveries, | Hungry for new discoveries, |
30 | 00:01:57,081 | 00:01:59,719 | Came face to face with a forgotten egyptian queen? | Came face to face with a forgotten egyptian queen? |
31 | 00:02:01,714 | 00:02:05,519 | Berlin, germany, the neues museum, | Berlin, germany, the neues museum, |
32 | 00:02:06,601 | 00:02:08,999 | Where a single object stands alone. | Where a single object stands alone. |
33 | 00:02:11,161 | 00:02:14,319 | It is the blue crowned bust of an egyptian queen. | It is the blue crowned bust of an egyptian queen. |
34 | 00:02:18,434 | 00:02:20,439 | Carved from a block of limestone, | Carved from a block of limestone, |
35 | 00:02:21,474 | 00:02:25,199 | Smoothed with plaster, richly painted, | Smoothed with plaster, richly painted, |
36 | 00:02:26,281 | 00:02:30,272 | Its image has become one of the most recognizable on earth, | Its image has become one of the most recognizable on earth, |
37 | 00:02:30,281 | 00:02:32,719 | Reproduced countless times. | Reproduced countless times. |
38 | 00:02:34,594 | 00:02:37,839 | Wherever it's displayed it's big box office. | Wherever it's displayed it's big box office. |
39 | 00:02:38,994 | 00:02:40,279 | Seyfried: We have between | Seyfried: We have between |
40 | 00:02:40,354 | 00:02:43,392 | 800,000 and one million visitors a year, | 800,000 and one million visitors a year, |
41 | 00:02:43,401 | 00:02:45,279 | Looking at the famous bust. | Looking at the famous bust. |
42 | 00:02:47,314 | 00:02:50,679 | The painted bust of nefertiti is really | The painted bust of nefertiti is really |
43 | 00:02:50,754 | 00:02:53,479 | A masterpiece of egyptian art. | A masterpiece of egyptian art. |
44 | 00:02:54,601 | 00:02:56,439 | Mastrelli: But it's more than that. | Mastrelli: But it's more than that. |
45 | 00:02:56,514 | 00:02:58,992 | Without this bust, the name nefertiti | Without this bust, the name nefertiti |
46 | 00:02:59,001 | 00:03:00,999 | Would be known only to scholars. | Would be known only to scholars. |
47 | 00:03:02,441 | 00:03:03,792 | While tutankhamen is famous | While tutankhamen is famous |
48 | 00:03:03,801 | 00:03:06,592 | Because his tomb was found intact, | Because his tomb was found intact, |
49 | 00:03:06,601 | 00:03:11,599 | With nefertiti there is no tomb, no gold, no rich burial. | With nefertiti there is no tomb, no gold, no rich burial. |
50 | 00:03:13,314 | 00:03:15,552 | The fact this sculpture has survived | The fact this sculpture has survived |
51 | 00:03:15,561 | 00:03:18,672 | Is in and of itself a miracle. | Is in and of itself a miracle. |
52 | 00:03:18,681 | 00:03:20,999 | So who was the real -life nefertiti? | So who was the real -life nefertiti? |
53 | 00:03:22,681 | 00:03:24,759 | Nefertiti was the great royal wife | Nefertiti was the great royal wife |
54 | 00:03:24,834 | 00:03:26,719 | Of controversial pharaoh akhenaten | Of controversial pharaoh akhenaten |
55 | 00:03:27,634 | 00:03:30,439 | Who shook up egypt in the 14th century bce. | Who shook up egypt in the 14th century bce. |
56 | 00:03:31,961 | 00:03:35,712 | For 17 years, he upended egyptian religious beliefs, | For 17 years, he upended egyptian religious beliefs, |
57 | 00:03:35,721 | 00:03:38,272 | Abandoning the tradition of multiple gods | Abandoning the tradition of multiple gods |
58 | 00:03:38,281 | 00:03:42,239 | To worship just one, the sun, or aten. | To worship just one, the sun, or aten. |
59 | 00:03:43,801 | 00:03:45,792 | To mark this break with the past, | To mark this break with the past, |
60 | 00:03:45,801 | 00:03:47,959 | He uprooted the royal centers of power | He uprooted the royal centers of power |
61 | 00:03:48,034 | 00:03:49,439 | In memphis and thebes, | In memphis and thebes, |
62 | 00:03:50,354 | 00:03:53,439 | Moving to a new capital in the desert, amarna. | Moving to a new capital in the desert, amarna. |
63 | 00:03:56,434 | 00:04:00,832 | After 17 years on the throne, akhenaten died. | After 17 years on the throne, akhenaten died. |
64 | 00:04:00,841 | 00:04:03,872 | There was nobody to uphold his revolution. | There was nobody to uphold his revolution. |
65 | 00:04:03,881 | 00:04:06,679 | The people of egypt abandoned his religion | The people of egypt abandoned his religion |
66 | 00:04:06,754 | 00:04:08,599 | And his capital city in the desert, | And his capital city in the desert, |
67 | 00:04:10,274 | 00:04:14,199 | And akhenaten and nefertiti were branded as heretics. | And akhenaten and nefertiti were branded as heretics. |
68 | 00:04:15,561 | 00:04:18,119 | Gangs were commissioned by the new royal court | Gangs were commissioned by the new royal court |
69 | 00:04:18,194 | 00:04:21,552 | To seek out images of akhenaten and nefertiti | To seek out images of akhenaten and nefertiti |
70 | 00:04:21,561 | 00:04:25,679 | And then destroy them, to erase them from history. | And then destroy them, to erase them from history. |
71 | 00:04:27,314 | 00:04:30,832 | But on December 12th, 1912, while excavating | But on December 12th, 1912, while excavating |
72 | 00:04:30,841 | 00:04:33,079 | In an area of ancient amarna, | In an area of ancient amarna, |
73 | 00:04:33,154 | 00:04:35,799 | German archeologist ludwig borchardt | German archeologist ludwig borchardt |
74 | 00:04:35,874 | 00:04:38,119 | Made a stunning discovery. | Made a stunning discovery. |
75 | 00:04:38,194 | 00:04:40,359 | When the find was announced to the world, | When the find was announced to the world, |
76 | 00:04:40,434 | 00:04:43,079 | It revived the memory of a queen, | It revived the memory of a queen, |
77 | 00:04:43,154 | 00:04:45,839 | All but forgotten for 3000 years. | All but forgotten for 3000 years. |
78 | 00:04:46,834 | 00:04:48,599 | This moment would define | This moment would define |
79 | 00:04:48,674 | 00:04:52,519 | How both borchardt and nefertiti are remembered. | How both borchardt and nefertiti are remembered. |
80 | 00:04:52,594 | 00:04:54,352 | (intriguing music) | (intriguing music) |
81 | 00:04:54,361 | 00:04:56,639 | And this is where the modern story of nefertiti begins. | And this is where the modern story of nefertiti begins. |
82 | 00:04:57,961 | 00:04:59,632 | There are many unanswered questions | There are many unanswered questions |
83 | 00:04:59,641 | 00:05:01,839 | Since the discovery of the bust in 1912. | Since the discovery of the bust in 1912. |
84 | 00:05:04,921 | 00:05:06,719 | Is this really what she looked like? | Is this really what she looked like? |
85 | 00:05:07,881 | 00:05:11,319 | How could the bust have survived, almost pristine, | How could the bust have survived, almost pristine, |
86 | 00:05:11,394 | 00:05:13,279 | For more than 3000 years? | For more than 3000 years? |
87 | 00:05:15,801 | 00:05:18,352 | The paints are all made from materials commonly | The paints are all made from materials commonly |
88 | 00:05:18,361 | 00:05:20,359 | Found in the desert landscape. | Found in the desert landscape. |
89 | 00:05:21,801 | 00:05:25,959 | It's the fact they've endured that makes them so remarkable. | It's the fact they've endured that makes them so remarkable. |
90 | 00:05:26,034 | 00:05:30,992 | Simon: There is no real parallel comparative object | Simon: There is no real parallel comparative object |
91 | 00:05:31,001 | 00:05:33,879 | In that state of preservation, she's so unique. | In that state of preservation, she's so unique. |
92 | 00:05:35,481 | 00:05:37,232 | Mastrelli: So what can modern science tell us | Mastrelli: So what can modern science tell us |
93 | 00:05:37,241 | 00:05:38,439 | About this sculpture? | About this sculpture? |
94 | 00:05:39,561 | 00:05:44,559 | A ct scan reveals a solid rock core, made from limestone, | A ct scan reveals a solid rock core, made from limestone, |
95 | 00:05:44,834 | 00:05:47,319 | That is wrapped in layers of plaster material, | That is wrapped in layers of plaster material, |
96 | 00:05:47,394 | 00:05:51,239 | Known as stucco, and it's the stucco that forms | Known as stucco, and it's the stucco that forms |
97 | 00:05:51,314 | 00:05:54,512 | The more intricate features, like the ears. | The more intricate features, like the ears. |
98 | 00:05:54,521 | 00:05:57,639 | This layering is very rare in egyptian art. | This layering is very rare in egyptian art. |
99 | 00:06:01,321 | 00:06:04,599 | In her lifetime, nefertiti became the embodiment | In her lifetime, nefertiti became the embodiment |
100 | 00:06:04,674 | 00:06:08,112 | Of beauty and 3000 years later, | Of beauty and 3000 years later, |
101 | 00:06:08,121 | 00:06:11,359 | Thanks to the bust, the same thing happened again. | Thanks to the bust, the same thing happened again. |
102 | 00:06:13,394 | 00:06:17,232 | But did the sculptor really carve a realistic portrait? | But did the sculptor really carve a realistic portrait? |
103 | 00:06:17,241 | 00:06:18,359 | Laboury: She's absolutely perfect, | Laboury: She's absolutely perfect, |
104 | 00:06:18,434 | 00:06:20,192 | She's absolutely symmetrical, | She's absolutely symmetrical, |
105 | 00:06:20,201 | 00:06:24,479 | With not a single default, she's flawless. | With not a single default, she's flawless. |
106 | 00:06:25,714 | 00:06:28,039 | Mastrelli: Egyptologist dimitri laboury | Mastrelli: Egyptologist dimitri laboury |
107 | 00:06:28,114 | 00:06:31,799 | Believes he's pieced together the method the sculptor used. | Believes he's pieced together the method the sculptor used. |
108 | 00:06:33,081 | 00:06:36,559 | It's a process that's part science as well as art. | It's a process that's part science as well as art. |
109 | 00:06:40,354 | 00:06:43,799 | We know from traces on other ancient egyptian artworks | We know from traces on other ancient egyptian artworks |
110 | 00:06:43,874 | 00:06:47,399 | That sculptors used a grid system to rough out their ideas, | That sculptors used a grid system to rough out their ideas, |
111 | 00:06:49,241 | 00:06:51,232 | A simple but ingenious method | A simple but ingenious method |
112 | 00:06:51,241 | 00:06:54,319 | For turning a flat image into a 3d object. | For turning a flat image into a 3d object. |
113 | 00:06:57,714 | 00:07:01,472 | Every sculpture started with horizontal and vertical lines, | Every sculpture started with horizontal and vertical lines, |
114 | 00:07:01,481 | 00:07:04,439 | Drawn onto the front and side of a stone block. | Drawn onto the front and side of a stone block. |
115 | 00:07:05,641 | 00:07:07,079 | Laboury: And to produce that kind of grid, | Laboury: And to produce that kind of grid, |
116 | 00:07:07,154 | 00:07:09,712 | They had rulers with measurement units | They had rulers with measurement units |
117 | 00:07:09,721 | 00:07:12,592 | And equal distance between each line. | And equal distance between each line. |
118 | 00:07:12,601 | 00:07:14,752 | This is the technique that they were using | This is the technique that they were using |
119 | 00:07:14,761 | 00:07:17,559 | From the very beginning of ancient egyptian sculpture. | From the very beginning of ancient egyptian sculpture. |
120 | 00:07:19,401 | 00:07:22,439 | Mastrelli: This way, when he came to draw a guide outline | Mastrelli: This way, when he came to draw a guide outline |
121 | 00:07:22,514 | 00:07:27,079 | Onto the block, a sculptor could preserve perfect symmetry, | Onto the block, a sculptor could preserve perfect symmetry, |
122 | 00:07:27,154 | 00:07:28,919 | He wouldn't have to judge it by eye. | He wouldn't have to judge it by eye. |
123 | 00:07:32,201 | 00:07:35,319 | But when a scholar named rolf krauss worked out the grid | But when a scholar named rolf krauss worked out the grid |
124 | 00:07:35,394 | 00:07:38,352 | And the outline which produced the nefertiti bust, | And the outline which produced the nefertiti bust, |
125 | 00:07:38,361 | 00:07:40,919 | He made a startling discovery. | He made a startling discovery. |
126 | 00:07:40,994 | 00:07:44,919 | Laboury: He reproduced a grid on each side of the block | Laboury: He reproduced a grid on each side of the block |
127 | 00:07:45,794 | 00:07:49,399 | To recreate the design of this bust. | To recreate the design of this bust. |
128 | 00:07:51,154 | 00:07:54,192 | Mastrelli: The relationship between the grid and the face | Mastrelli: The relationship between the grid and the face |
129 | 00:07:54,201 | 00:07:57,319 | Suggests that there's some sort of formula at work. | Suggests that there's some sort of formula at work. |
130 | 00:07:57,394 | 00:08:00,752 | Laboury: All the features of the face of nefertiti | Laboury: All the features of the face of nefertiti |
131 | 00:08:00,761 | 00:08:05,639 | Just fit on a line or at the crossroad of two lines. | Just fit on a line or at the crossroad of two lines. |
132 | 00:08:05,714 | 00:08:09,392 | Every feature fits on a line like the bottom line | Every feature fits on a line like the bottom line |
133 | 00:08:09,401 | 00:08:12,119 | That defines the positioning of the eyes, | That defines the positioning of the eyes, |
134 | 00:08:12,194 | 00:08:16,719 | The base of the nose, the junction between the two lips. | The base of the nose, the junction between the two lips. |
135 | 00:08:19,401 | 00:08:22,759 | Mastrelli: In statistical terms, it's virtually impossible | Mastrelli: In statistical terms, it's virtually impossible |
136 | 00:08:22,834 | 00:08:27,152 | That any real face would fit so perfectly into this grid. | That any real face would fit so perfectly into this grid. |
137 | 00:08:27,161 | 00:08:29,792 | If this image bears any resemblance at all | If this image bears any resemblance at all |
138 | 00:08:29,801 | 00:08:33,479 | To the real nefertiti, it's heavily stylized, | To the real nefertiti, it's heavily stylized, |
139 | 00:08:33,554 | 00:08:36,879 | The ancient egyptian equivalent of a retouched photo. | The ancient egyptian equivalent of a retouched photo. |
140 | 00:08:38,994 | 00:08:41,159 | Laboury: She's absolutely too perfect | Laboury: She's absolutely too perfect |
141 | 00:08:41,234 | 00:08:46,199 | To be a rendering of the actual face of nefertiti. | To be a rendering of the actual face of nefertiti. |
142 | 00:08:46,921 | 00:08:48,992 | Mastrelli: Nefertiti may not have been as perfect | Mastrelli: Nefertiti may not have been as perfect |
143 | 00:08:49,001 | 00:08:51,399 | In real life as her iconic bust, | In real life as her iconic bust, |
144 | 00:08:51,474 | 00:08:54,512 | And unfortunately a closer look at its discovery | And unfortunately a closer look at its discovery |
145 | 00:08:54,521 | 00:08:57,439 | May also prove a little too good to be true. | May also prove a little too good to be true. |
146 | 00:09:03,001 | 00:09:05,792 | The nefertiti bust has long puzzled experts | The nefertiti bust has long puzzled experts |
147 | 00:09:05,801 | 00:09:08,512 | And some have even questioned its authenticity. | And some have even questioned its authenticity. |
148 | 00:09:08,521 | 00:09:11,719 | The main reason, its miraculously pristine condition. | The main reason, its miraculously pristine condition. |
149 | 00:09:11,794 | 00:09:14,672 | It certainly doesn't look 3000 years old. | It certainly doesn't look 3000 years old. |
150 | 00:09:14,681 | 00:09:16,919 | While it was definitely discovered in amarna, | While it was definitely discovered in amarna, |
151 | 00:09:16,994 | 00:09:20,799 | The circumstances surrounding that day seem a little fishy. | The circumstances surrounding that day seem a little fishy. |
152 | 00:09:22,514 | 00:09:26,752 | There are photographs taken on December 6th, 1912, | There are photographs taken on December 6th, 1912, |
153 | 00:09:26,761 | 00:09:28,272 | The day the bust was found | The day the bust was found |
154 | 00:09:28,281 | 00:09:31,552 | By german archeologist ludwig borchardt. | By german archeologist ludwig borchardt. |
155 | 00:09:31,561 | 00:09:34,192 | At first glance they appear simply | At first glance they appear simply |
156 | 00:09:34,201 | 00:09:37,632 | To document borchardt's incredible find. | To document borchardt's incredible find. |
157 | 00:09:37,641 | 00:09:40,112 | But after examining them more closely, | But after examining them more closely, |
158 | 00:09:40,121 | 00:09:44,279 | Egyptologist christian loeben reads them differently. | Egyptologist christian loeben reads them differently. |
159 | 00:09:44,354 | 00:09:47,559 | The photographs were taken by a visiting dignitary, | The photographs were taken by a visiting dignitary, |
160 | 00:09:47,634 | 00:09:49,919 | Prince johann george of saxony. | Prince johann george of saxony. |
161 | 00:09:51,401 | 00:09:53,872 | The single day that he spent at amarna | The single day that he spent at amarna |
162 | 00:09:53,881 | 00:09:57,799 | Just happened to be the day when the bust was discovered. | Just happened to be the day when the bust was discovered. |
163 | 00:09:57,874 | 00:10:01,719 | Loeben: I think the bust has been found somewhere else | Loeben: I think the bust has been found somewhere else |
164 | 00:10:01,794 | 00:10:04,912 | And for the occasion brought to the find spot | And for the occasion brought to the find spot |
165 | 00:10:04,921 | 00:10:06,992 | Where it was discovered by borchardt | Where it was discovered by borchardt |
166 | 00:10:07,001 | 00:10:10,839 | And in the presence of these royal people. | And in the presence of these royal people. |
167 | 00:10:14,201 | 00:10:15,632 | Mastrelli: Loeben has uncovered a letter | Mastrelli: Loeben has uncovered a letter |
168 | 00:10:15,641 | 00:10:18,272 | That borchardt wrote to his wife, | That borchardt wrote to his wife, |
169 | 00:10:18,281 | 00:10:21,632 | And it appears to support his suspicions. | And it appears to support his suspicions. |
170 | 00:10:21,641 | 00:10:25,232 | Loeben: He writes a little poem which goes as follows. | Loeben: He writes a little poem which goes as follows. |
171 | 00:10:25,241 | 00:10:29,159 | (speaking in foreign language) | (speaking in foreign language) |
172 | 00:10:33,314 | 00:10:35,152 | Which is in english something like, | Which is in english something like, |
173 | 00:10:35,161 | 00:10:38,672 | If you find something, take it into the house immediately | If you find something, take it into the house immediately |
174 | 00:10:38,681 | 00:10:40,519 | Where it's safe and secure. | Where it's safe and secure. |
175 | 00:10:40,594 | 00:10:43,472 | However, when a prince is approaching, | However, when a prince is approaching, |
176 | 00:10:43,481 | 00:10:45,839 | Make sure you only find it tomorrow. | Make sure you only find it tomorrow. |
177 | 00:10:47,234 | 00:10:49,079 | Mastrelli: At berlin's neues museum, | Mastrelli: At berlin's neues museum, |
178 | 00:10:49,154 | 00:10:51,559 | Where the bust is the star attraction, | Where the bust is the star attraction, |
179 | 00:10:51,634 | 00:10:54,992 | Any suggestion that borchardt was less than honest | Any suggestion that borchardt was less than honest |
180 | 00:10:55,001 | 00:10:58,639 | Or that he stage-managed the discovery is unpopular. | Or that he stage-managed the discovery is unpopular. |
181 | 00:10:59,874 | 00:11:02,919 | Seyfried: Of course it is really sensational | Seyfried: Of course it is really sensational |
182 | 00:11:02,994 | 00:11:05,959 | That you have royal visitors and then the day | That you have royal visitors and then the day |
183 | 00:11:06,034 | 00:11:08,832 | When you find the most important, | When you find the most important, |
184 | 00:11:08,841 | 00:11:12,199 | Maybe the most important things of the whole campaign, | Maybe the most important things of the whole campaign, |
185 | 00:11:12,274 | 00:11:16,719 | But that's, yeah, fortune, that's, yeah, fate. | But that's, yeah, fortune, that's, yeah, fate. |
186 | 00:11:18,441 | 00:11:19,552 | (shutter clicks) | (shutter clicks) |
187 | 00:11:19,561 | 00:11:21,479 | It was not arranged, no never. | It was not arranged, no never. |
188 | 00:11:22,601 | 00:11:25,239 | Mastrelli: But the debate doesn't end there. | Mastrelli: But the debate doesn't end there. |
189 | 00:11:25,314 | 00:11:28,352 | There are those who would go even further in questioning, | There are those who would go even further in questioning, |
190 | 00:11:28,361 | 00:11:30,919 | Not only the manner of the discovery, | Not only the manner of the discovery, |
191 | 00:11:30,994 | 00:11:34,279 | But also whether it is in fact ancient at all. | But also whether it is in fact ancient at all. |
192 | 00:11:35,634 | 00:11:38,679 | One man believes that the nefertiti bust | One man believes that the nefertiti bust |
193 | 00:11:38,754 | 00:11:40,759 | Is a 20th century fake. | Is a 20th century fake. |
194 | 00:11:41,801 | 00:11:44,399 | Greenhalgh: It's supposed to be the work of a master sculptor, | Greenhalgh: It's supposed to be the work of a master sculptor, |
195 | 00:11:45,314 | 00:11:47,639 | But the technique says otherwise. | But the technique says otherwise. |
196 | 00:11:47,714 | 00:11:50,679 | Mastrelli: Shaun greenhalgh knows fakery. | Mastrelli: Shaun greenhalgh knows fakery. |
197 | 00:11:50,754 | 00:11:54,119 | In 2007 he sold this amarna statue | In 2007 he sold this amarna statue |
198 | 00:11:54,194 | 00:11:57,712 | To a uk museum for a six figure sum. | To a uk museum for a six figure sum. |
199 | 00:11:57,721 | 00:12:01,872 | What he didn't reveal was that he'd made it himself. | What he didn't reveal was that he'd made it himself. |
200 | 00:12:01,881 | 00:12:04,592 | Greenhalgh is a convicted forger, | Greenhalgh is a convicted forger, |
201 | 00:12:04,601 | 00:12:07,399 | His work has fooled experts around the world. | His work has fooled experts around the world. |
202 | 00:12:08,434 | 00:12:11,152 | For greenhalgh, what gives the game away | For greenhalgh, what gives the game away |
203 | 00:12:11,161 | 00:12:13,392 | Is the layer of stucco plaster | Is the layer of stucco plaster |
204 | 00:12:13,401 | 00:12:15,552 | That covers the limestone core | That covers the limestone core |
205 | 00:12:15,561 | 00:12:18,399 | And forms the bust's most intricate features. | And forms the bust's most intricate features. |
206 | 00:12:19,881 | 00:12:21,399 | Greenhalgh: That's the work of, if not an amateur, | Greenhalgh: That's the work of, if not an amateur, |
207 | 00:12:21,474 | 00:12:24,192 | Then a second or third-rate sculptor | Then a second or third-rate sculptor |
208 | 00:12:24,201 | 00:12:26,272 | And none of those would work for the pharaoh, | And none of those would work for the pharaoh, |
209 | 00:12:26,281 | 00:12:27,479 | He'd only have the best. | He'd only have the best. |
210 | 00:12:30,034 | 00:12:32,672 | That'd be like finding a michelangelo sculpture | That'd be like finding a michelangelo sculpture |
211 | 00:12:32,681 | 00:12:35,639 | In marble and then you find out that the ears, the eyes, | In marble and then you find out that the ears, the eyes, |
212 | 00:12:35,714 | 00:12:37,399 | All the hands, the difficult parts, | All the hands, the difficult parts, |
213 | 00:12:37,474 | 00:12:39,872 | Are all made in stucco and added on, | Are all made in stucco and added on, |
214 | 00:12:39,881 | 00:12:41,639 | It just wouldn't be done. | It just wouldn't be done. |
215 | 00:12:41,714 | 00:12:43,712 | The damage on it is the major point | The damage on it is the major point |
216 | 00:12:43,721 | 00:12:46,352 | Of it being a later copy. | Of it being a later copy. |
217 | 00:12:46,361 | 00:12:49,399 | It's something I've done myself, I've seen on other fakes. | It's something I've done myself, I've seen on other fakes. |
218 | 00:12:51,314 | 00:12:53,919 | It's quite obvious if you look at where it's damaged. | It's quite obvious if you look at where it's damaged. |
219 | 00:12:55,714 | 00:12:57,399 | The ears are damaged, | The ears are damaged, |
220 | 00:12:57,474 | 00:12:59,639 | So obviously its been dropped left and right sides. | So obviously its been dropped left and right sides. |
221 | 00:12:59,714 | 00:13:02,752 | The back of the head has been damaged, and most telling, | The back of the head has been damaged, and most telling, |
222 | 00:13:02,761 | 00:13:06,999 | The cobra on the conical cap is almost obliterated. | The cobra on the conical cap is almost obliterated. |
223 | 00:13:09,314 | 00:13:12,279 | To remove it, it would have taken off the nose, | To remove it, it would have taken off the nose, |
224 | 00:13:12,354 | 00:13:14,119 | The brow ridges and the chin, | The brow ridges and the chin, |
225 | 00:13:14,194 | 00:13:16,159 | There's absolutely no damage to the face. | There's absolutely no damage to the face. |
226 | 00:13:18,194 | 00:13:21,799 | The damage is selective and that's a dead ringer for a fake. | The damage is selective and that's a dead ringer for a fake. |
227 | 00:13:23,394 | 00:13:25,559 | Mastrelli: Another indication this could be a fake | Mastrelli: Another indication this could be a fake |
228 | 00:13:25,634 | 00:13:28,599 | Is nefertiti's missing eye. | Is nefertiti's missing eye. |
229 | 00:13:28,674 | 00:13:32,112 | The left socket is empty while the right eye is made | The left socket is empty while the right eye is made |
230 | 00:13:32,121 | 00:13:36,039 | From an inlay of black wax and rock crystal. | From an inlay of black wax and rock crystal. |
231 | 00:13:36,114 | 00:13:40,199 | Greenhalgh believes that the right eye is genuinely ancient, | Greenhalgh believes that the right eye is genuinely ancient, |
232 | 00:13:40,274 | 00:13:43,152 | Sourced to make the bust look real. | Sourced to make the bust look real. |
233 | 00:13:43,161 | 00:13:44,672 | Greenhalgh: It's a major pointer to its fakery | Greenhalgh: It's a major pointer to its fakery |
234 | 00:13:44,681 | 00:13:47,239 | Because it's the kind of thing I've done myself, | Because it's the kind of thing I've done myself, |
235 | 00:13:47,314 | 00:13:51,079 | Sourcing beads or pearls or whatever for in a piece. | Sourcing beads or pearls or whatever for in a piece. |
236 | 00:13:51,154 | 00:13:53,232 | Mastrelli: Borchardt searched the area | Mastrelli: Borchardt searched the area |
237 | 00:13:53,241 | 00:13:55,232 | Where the bust was discovered, | Where the bust was discovered, |
238 | 00:13:55,241 | 00:13:57,479 | Offering a cash reward to anyone | Offering a cash reward to anyone |
239 | 00:13:57,554 | 00:13:59,799 | Who could find the missing eye. | Who could find the missing eye. |
240 | 00:13:59,874 | 00:14:01,312 | It was never found | It was never found |
241 | 00:14:01,321 | 00:14:04,359 | And greenhalgh believes it never existed. | And greenhalgh believes it never existed. |
242 | 00:14:04,434 | 00:14:07,632 | Greenhalgh: It would be possible to source a quartzite eye, | Greenhalgh: It would be possible to source a quartzite eye, |
243 | 00:14:07,641 | 00:14:11,079 | But to find a pair, well that be would very long odds. | But to find a pair, well that be would very long odds. |
244 | 00:14:12,434 | 00:14:15,159 | Mastrelli: Greenhalgh argues this is the only way | Mastrelli: Greenhalgh argues this is the only way |
245 | 00:14:15,234 | 00:14:17,152 | To explain the empty socket. | To explain the empty socket. |
246 | 00:14:17,161 | 00:14:21,392 | To ancient egyptians, the eyes were a window to the soul. | To ancient egyptians, the eyes were a window to the soul. |
247 | 00:14:21,401 | 00:14:24,039 | So representing the queen with one eye missing | So representing the queen with one eye missing |
248 | 00:14:24,114 | 00:14:26,439 | Would be a shocking sign of disrespect. | Would be a shocking sign of disrespect. |
249 | 00:14:27,721 | 00:14:30,279 | Finally, greenhalgh thinks he knows | Finally, greenhalgh thinks he knows |
250 | 00:14:30,354 | 00:14:34,119 | Why the forger picked nefertiti and the amarna period. | Why the forger picked nefertiti and the amarna period. |
251 | 00:14:34,194 | 00:14:35,392 | Greenhalgh: If you're gonna pick a period | Greenhalgh: If you're gonna pick a period |
252 | 00:14:35,401 | 00:14:37,879 | Of egyptian art to fake, | Of egyptian art to fake, |
253 | 00:14:37,954 | 00:14:40,272 | The amarna period is really the best | The amarna period is really the best |
254 | 00:14:40,281 | 00:14:44,359 | Because the sculpture wasn't any more difficult | Because the sculpture wasn't any more difficult |
255 | 00:14:44,434 | 00:14:46,039 | Than any other period, | Than any other period, |
256 | 00:14:46,114 | 00:14:48,912 | But it is the most valuable today to collectors. | But it is the most valuable today to collectors. |
257 | 00:14:48,921 | 00:14:50,592 | Mastrelli: Even though the discovery | Mastrelli: Even though the discovery |
258 | 00:14:50,601 | 00:14:53,632 | Of nefertiti's bust seems strangely fortuitous, | Of nefertiti's bust seems strangely fortuitous, |
259 | 00:14:53,641 | 00:14:57,079 | Could this iconic sculpture really be a fake? | Could this iconic sculpture really be a fake? |
260 | 00:14:57,154 | 00:14:59,712 | If so, this actually wouldn't be the only time | If so, this actually wouldn't be the only time |
261 | 00:14:59,721 | 00:15:02,559 | Borchardt had been connected with a forgery. | Borchardt had been connected with a forgery. |
262 | 00:15:03,801 | 00:15:06,912 | Experts are expressing concerns over the discovery | Experts are expressing concerns over the discovery |
263 | 00:15:06,921 | 00:15:11,479 | And authenticity of the iconic bust of nefertiti. | And authenticity of the iconic bust of nefertiti. |
264 | 00:15:11,554 | 00:15:13,632 | Could it be that ludwig borchardt, | Could it be that ludwig borchardt, |
265 | 00:15:13,641 | 00:15:16,272 | Germany's most celebrated archeologist, | Germany's most celebrated archeologist, |
266 | 00:15:16,281 | 00:15:19,479 | Was duped by, or worse still, took part in, | Was duped by, or worse still, took part in, |
267 | 00:15:19,554 | 00:15:21,919 | The greatest art fraud of all time? | The greatest art fraud of all time? |
268 | 00:15:22,994 | 00:15:26,279 | At the August kesner museum in hanover, christian loeben | At the August kesner museum in hanover, christian loeben |
269 | 00:15:26,354 | 00:15:29,879 | Is uncovering further reason to mistrust borchardt. | Is uncovering further reason to mistrust borchardt. |
270 | 00:15:35,554 | 00:15:37,239 | In a storeroom, he's looking | In a storeroom, he's looking |
271 | 00:15:37,314 | 00:15:39,239 | For an ancient egyptian sculpture | For an ancient egyptian sculpture |
272 | 00:15:39,314 | 00:15:41,119 | That is no longer on display. | That is no longer on display. |
273 | 00:15:44,201 | 00:15:48,359 | It was bought by the museum in 1926. | It was bought by the museum in 1926. |
274 | 00:15:48,434 | 00:15:51,719 | Loeben: It represents a young man with a happy vague, | Loeben: It represents a young man with a happy vague, |
275 | 00:15:53,234 | 00:15:57,152 | Really nice piece of the 12th dynasty, | Really nice piece of the 12th dynasty, |
276 | 00:15:57,161 | 00:15:59,159 | Which is approximately 2000 bc. | Which is approximately 2000 bc. |
277 | 00:16:00,834 | 00:16:02,672 | Mastrelli: The documentation that comes with it | Mastrelli: The documentation that comes with it |
278 | 00:16:02,681 | 00:16:05,159 | Clearly identifies the seller | Clearly identifies the seller |
279 | 00:16:05,234 | 00:16:07,999 | As none other than ludwig borchardt. | As none other than ludwig borchardt. |
280 | 00:16:09,794 | 00:16:11,799 | Loeben: It says, borchardt, cairo | Loeben: It says, borchardt, cairo |
281 | 00:16:11,874 | 00:16:17,639 | In 1926, for 2,550 piasters. | In 1926, for 2,550 piasters. |
282 | 00:16:18,521 | 00:16:22,672 | To sell things onto museums was certainly something | To sell things onto museums was certainly something |
283 | 00:16:22,681 | 00:16:26,199 | Which not every archeologist would have done. | Which not every archeologist would have done. |
284 | 00:16:26,274 | 00:16:28,119 | Mastrelli: But borchardt's prominent reputation | Mastrelli: But borchardt's prominent reputation |
285 | 00:16:28,194 | 00:16:31,552 | As an archeologist meant there was no reason | As an archeologist meant there was no reason |
286 | 00:16:31,561 | 00:16:34,672 | To doubt the authenticity of his goods. | To doubt the authenticity of his goods. |
287 | 00:16:34,681 | 00:16:37,152 | Loeben: A lot of people were relying on borchardt | Loeben: A lot of people were relying on borchardt |
288 | 00:16:37,161 | 00:16:40,759 | To get beautiful objects for them on the cairo market. | To get beautiful objects for them on the cairo market. |
289 | 00:16:41,954 | 00:16:43,959 | Mastrelli: But just four years later, | Mastrelli: But just four years later, |
290 | 00:16:44,034 | 00:16:46,479 | Borchardt made an incredible admission. | Borchardt made an incredible admission. |
291 | 00:16:47,481 | 00:16:50,199 | Loeben: Borchardt himself published an article | Loeben: Borchardt himself published an article |
292 | 00:16:50,274 | 00:16:54,359 | Including this object, in which he states that it is a fake. | Including this object, in which he states that it is a fake. |
293 | 00:16:55,321 | 00:16:57,152 | The museum was not very happy | The museum was not very happy |
294 | 00:16:57,161 | 00:17:00,359 | To learn that it had bought a fake. | To learn that it had bought a fake. |
295 | 00:17:00,434 | 00:17:02,119 | Mastrelli: Either borchardt had been complicit | Mastrelli: Either borchardt had been complicit |
296 | 00:17:02,194 | 00:17:04,272 | In the sale of a forged object, | In the sale of a forged object, |
297 | 00:17:04,281 | 00:17:06,672 | Or he himself had been fooled. | Or he himself had been fooled. |
298 | 00:17:06,681 | 00:17:08,519 | Loeben: It's quite a good fake, | Loeben: It's quite a good fake, |
299 | 00:17:08,594 | 00:17:11,392 | Only for knowledgeable egyptologists | Only for knowledgeable egyptologists |
300 | 00:17:11,401 | 00:17:14,199 | Who have really looked at a lot of egyptian art | Who have really looked at a lot of egyptian art |
301 | 00:17:14,274 | 00:17:19,079 | And also at forgeries would really say that it is a fake. | And also at forgeries would really say that it is a fake. |
302 | 00:17:19,154 | 00:17:20,679 | Mastrelli: A history of selling fakes | Mastrelli: A history of selling fakes |
303 | 00:17:20,754 | 00:17:23,599 | Should bring borchardt's credibility into question, | Should bring borchardt's credibility into question, |
304 | 00:17:24,441 | 00:17:27,072 | But does it mean that we need to think differently | But does it mean that we need to think differently |
305 | 00:17:27,081 | 00:17:29,479 | About the nefertiti bust? | About the nefertiti bust? |
306 | 00:17:29,554 | 00:17:33,392 | Professor stefan simon is a leading conservation scientist | Professor stefan simon is a leading conservation scientist |
307 | 00:17:33,401 | 00:17:37,152 | And the director of the rathgen research lab in berlin. | And the director of the rathgen research lab in berlin. |
308 | 00:17:37,161 | 00:17:40,272 | He preserves historical artifacts, | He preserves historical artifacts, |
309 | 00:17:40,281 | 00:17:43,039 | But also knows how to spot a forgery. | But also knows how to spot a forgery. |
310 | 00:17:44,761 | 00:17:48,919 | Simon: As a conservation scientist, I see chemical faces, | Simon: As a conservation scientist, I see chemical faces, |
311 | 00:17:48,994 | 00:17:51,879 | I look at the process of how an object was made. | I look at the process of how an object was made. |
312 | 00:17:51,954 | 00:17:54,512 | What was the first, the second, the third layer? | What was the first, the second, the third layer? |
313 | 00:17:54,521 | 00:17:56,359 | It's important to take a close look. | It's important to take a close look. |
314 | 00:17:57,561 | 00:17:58,912 | Mastrelli: For a long time, | Mastrelli: For a long time, |
315 | 00:17:58,921 | 00:18:00,679 | Simon's investigations were restricted | Simon's investigations were restricted |
316 | 00:18:00,754 | 00:18:04,199 | By the fact that the bust is so fragile and so valuable. | By the fact that the bust is so fragile and so valuable. |
317 | 00:18:05,394 | 00:18:07,239 | The destructive testing normally used | The destructive testing normally used |
318 | 00:18:07,314 | 00:18:10,839 | To establish the age of an artifact was not an option. | To establish the age of an artifact was not an option. |
319 | 00:18:12,514 | 00:18:15,312 | But when a tiny fragment of paint was dislodged | But when a tiny fragment of paint was dislodged |
320 | 00:18:15,321 | 00:18:17,319 | While the bust was in transit, | While the bust was in transit, |
321 | 00:18:17,394 | 00:18:21,119 | Simon seized the opportunity to examine its chemical makeup. | Simon seized the opportunity to examine its chemical makeup. |
322 | 00:18:22,114 | 00:18:25,952 | Simon: Today we're taking a look at a tiny flake of paint | Simon: Today we're taking a look at a tiny flake of paint |
323 | 00:18:25,961 | 00:18:28,759 | Off decorated surface which fell off the bust. | Off decorated surface which fell off the bust. |
324 | 00:18:28,834 | 00:18:31,152 | We were looking at its chemical composition, | We were looking at its chemical composition, |
325 | 00:18:31,161 | 00:18:34,352 | At the ground layer, how it was prepared before painting, | At the ground layer, how it was prepared before painting, |
326 | 00:18:34,361 | 00:18:37,399 | Also at the texture, what is the grain size distribution. | Also at the texture, what is the grain size distribution. |
327 | 00:18:38,281 | 00:18:39,792 | Mastrelli: Under the microscope, | Mastrelli: Under the microscope, |
328 | 00:18:39,801 | 00:18:42,759 | The paint sample is magnified 800 times, | The paint sample is magnified 800 times, |
329 | 00:18:42,834 | 00:18:45,552 | Giving stefan simon a unique insight | Giving stefan simon a unique insight |
330 | 00:18:45,561 | 00:18:47,232 | Into its chemical structure. | Into its chemical structure. |
331 | 00:18:47,241 | 00:18:49,639 | Simon: We are searching for hints and indications | Simon: We are searching for hints and indications |
332 | 00:18:49,714 | 00:18:52,432 | Which are contradicting authenticity. | Which are contradicting authenticity. |
333 | 00:18:52,441 | 00:18:56,432 | We're looking for materials which were not used | We're looking for materials which were not used |
334 | 00:18:56,441 | 00:18:59,079 | At the time they were supposed to be used. | At the time they were supposed to be used. |
335 | 00:18:59,954 | 00:19:02,039 | Mastrelli: The analysis reveals why the colors | Mastrelli: The analysis reveals why the colors |
336 | 00:19:02,114 | 00:19:04,319 | Have not dulled after so many years. | Have not dulled after so many years. |
337 | 00:19:06,194 | 00:19:09,479 | Simon: Most of the colors are very, very strong | Simon: Most of the colors are very, very strong |
338 | 00:19:09,554 | 00:19:12,512 | And stable inorganic pigments. | And stable inorganic pigments. |
339 | 00:19:12,521 | 00:19:14,672 | Mastrelli: The chemical composition of these pigments | Mastrelli: The chemical composition of these pigments |
340 | 00:19:14,681 | 00:19:17,079 | Means that no matter how long they were left, | Means that no matter how long they were left, |
341 | 00:19:17,154 | 00:19:18,799 | The colors would remain vivid. | The colors would remain vivid. |
342 | 00:19:19,881 | 00:19:24,752 | Simon: All these paints are part of the palette | Simon: All these paints are part of the palette |
343 | 00:19:24,761 | 00:19:27,792 | Of the egyptian artists 3000 years ago. | Of the egyptian artists 3000 years ago. |
344 | 00:19:27,801 | 00:19:30,752 | They are to be expected to be there | They are to be expected to be there |
345 | 00:19:30,761 | 00:19:35,239 | And they are quite stable, and that's probably the reason | And they are quite stable, and that's probably the reason |
346 | 00:19:35,314 | 00:19:37,239 | Why they are still in such a pristine condition | Why they are still in such a pristine condition |
347 | 00:19:37,314 | 00:19:38,719 | After so many years. | After so many years. |
348 | 00:19:40,041 | 00:19:41,792 | Mastrelli: Simon believes that the patterns he sees | Mastrelli: Simon believes that the patterns he sees |
349 | 00:19:41,801 | 00:19:43,792 | On the bust were most likely formed | On the bust were most likely formed |
350 | 00:19:43,801 | 00:19:45,519 | Over a period of centuries. | Over a period of centuries. |
351 | 00:19:46,681 | 00:19:49,312 | Simon: Most important finding was the aging | Simon: Most important finding was the aging |
352 | 00:19:49,321 | 00:19:51,792 | Over long periods of time, | Over long periods of time, |
353 | 00:19:51,801 | 00:19:55,152 | Changing partly the chemical composition | Changing partly the chemical composition |
354 | 00:19:55,161 | 00:19:58,112 | In processes which are really slow processes, | In processes which are really slow processes, |
355 | 00:19:58,121 | 00:19:59,952 | Which take a long time. | Which take a long time. |
356 | 00:19:59,961 | 00:20:03,319 | Mastrelli: But is this enough to conclude, with certainty, | Mastrelli: But is this enough to conclude, with certainty, |
357 | 00:20:03,394 | 00:20:05,999 | That this is an original ancient work? | That this is an original ancient work? |
358 | 00:20:08,681 | 00:20:10,439 | Simon: You cannot prove that it's an original, | Simon: You cannot prove that it's an original, |
359 | 00:20:10,514 | 00:20:15,079 | You can prove that's a fake if you find the evidence. | You can prove that's a fake if you find the evidence. |
360 | 00:20:15,154 | 00:20:17,072 | If you find materials which are not consistent | If you find materials which are not consistent |
361 | 00:20:17,081 | 00:20:19,472 | With the time, yeah, | With the time, yeah, |
362 | 00:20:19,481 | 00:20:23,079 | Then you can say well there's a problem, | Then you can say well there's a problem, |
363 | 00:20:23,154 | 00:20:25,959 | But if you don't find, you cannot prove. | But if you don't find, you cannot prove. |
364 | 00:20:26,034 | 00:20:29,552 | Mastrelli: The paint on the bust appears to be old enough. | Mastrelli: The paint on the bust appears to be old enough. |
365 | 00:20:29,561 | 00:20:31,399 | Professor simon is able to rule out | Professor simon is able to rule out |
366 | 00:20:31,474 | 00:20:33,479 | The presence of modern pigments, | The presence of modern pigments, |
367 | 00:20:33,554 | 00:20:35,312 | But that alone is insufficient | But that alone is insufficient |
368 | 00:20:35,321 | 00:20:38,559 | To confirm the overall authenticity of the sculpture. | To confirm the overall authenticity of the sculpture. |
369 | 00:20:40,441 | 00:20:43,799 | Simon: Unfortunately, we are not able | Simon: Unfortunately, we are not able |
370 | 00:20:43,874 | 00:20:48,559 | To say yes, for 100%, here we have an authentic object. | To say yes, for 100%, here we have an authentic object. |
371 | 00:20:51,401 | 00:20:53,632 | Mastrelli: The nefertiti bust continues to attract | Mastrelli: The nefertiti bust continues to attract |
372 | 00:20:53,641 | 00:20:55,559 | Up to a million visitors a year, | Up to a million visitors a year, |
373 | 00:20:55,634 | 00:20:58,759 | Despite lingering concerns about its provenance. | Despite lingering concerns about its provenance. |
374 | 00:21:00,674 | 00:21:03,639 | Greenhalgh: I don't believe that it's genuine, | Greenhalgh: I don't believe that it's genuine, |
375 | 00:21:03,714 | 00:21:05,679 | It just looks modern. | It just looks modern. |
376 | 00:21:06,041 | 00:21:08,432 | Loeben: I am 100% sure it's an | Loeben: I am 100% sure it's an |
377 | 00:21:08,441 | 00:21:11,152 | Original ancient egyptian object, | Original ancient egyptian object, |
378 | 00:21:11,161 | 00:21:12,759 | But it has not been discovered | But it has not been discovered |
379 | 00:21:12,834 | 00:21:16,512 | Where borchardt says he discovered it. | Where borchardt says he discovered it. |
380 | 00:21:16,521 | 00:21:20,592 | Seyfried: It is quite sure that she is | Seyfried: It is quite sure that she is |
381 | 00:21:20,601 | 00:21:23,719 | A key piece of ancient egyptian art. | A key piece of ancient egyptian art. |
382 | 00:21:25,961 | 00:21:28,519 | Mastrelli: As the debate over the bust of nefertiti grinds on, | Mastrelli: As the debate over the bust of nefertiti grinds on, |
383 | 00:21:28,594 | 00:21:31,559 | Forgeries continue to inundate the art world. | Forgeries continue to inundate the art world. |
384 | 00:21:31,634 | 00:21:33,312 | Today european police estimate | Today european police estimate |
385 | 00:21:33,321 | 00:21:35,399 | That as much as half of the art in circulation | That as much as half of the art in circulation |
386 | 00:21:35,474 | 00:21:37,959 | On the international market is fake, | On the international market is fake, |
387 | 00:21:38,034 | 00:21:41,319 | And even renowned fakes have become so prized that they too | And even renowned fakes have become so prized that they too |
388 | 00:21:41,394 | 00:21:44,839 | Have been purchased for incredible sums of money. | Have been purchased for incredible sums of money. |
389 | 00:21:44,914 | 00:21:47,639 | As is the case with this iconic egyptian queen, | As is the case with this iconic egyptian queen, |
390 | 00:21:47,714 | 00:21:50,119 | It seems the provenance of a work of art | It seems the provenance of a work of art |
391 | 00:21:50,194 | 00:21:54,199 | Sometimes matters less than how it captures our imagination. | Sometimes matters less than how it captures our imagination. |
392 | 00:21:54,274 | 00:21:55,872 | Kind of like that phrase, | Kind of like that phrase, |
393 | 00:21:55,881 | 00:21:58,679 | I don't know much about art, but I know what I like. | I don't know much about art, but I know what I like. |