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Pottery. Pottery is the process and the products of forming vessels and other objects with clay and other ceramic materials, which are fired at high temperatures to give them a hard and durable form. Major types include earthenware, stoneware and porcelain. The place where such wares are made by a "potter" is also called a "pottery" (plural "potteries"). The definition of "pottery", used by the ASTM International, is "all fired ceramic wares that contain clay when formed, except technical, structural, and refractory products." In art history and archaeology, especially of ancient and prehistoric periods, "pottery" often means vessels only, and sculpted.

Pottery. figurines of the same material are called "terracottas". Pottery is one of the oldest human inventions, originating before the Neolithic period, with ceramic objects like the Gravettian culture Venus of Dolní Věstonice figurine discovered in the Czech Republic dating back to 29,000–25,000 BC, and pottery vessels that were discovered in Jiangxi, China, which date back to 18,000 BC. Early Neolithic and pre-Neolithic pottery artifacts have been found, in Jōmon Japan (10,500 BC), the Russian Far East (14,000 BC), Sub-Saharan Africa (9,400 BC), South America (9,000s–7,000s BC), and the Middle East (7,000s–6,000s BC).Pottery is made by forming a ceramic (often clay).

Pottery. body into objects of a desired shape and heating them to high temperatures (600–1600 °C) in a bonfire, pit or kiln and induces reactions that lead to permanent changes including increasing the strength and rigidity of the object. Much pottery is purely utilitarian, but some can also be regarded as ceramic art. A clay body can be decorated before or after firing.Clay-based pottery can be divided into three main groups: earthenware, stoneware and porcelain. These require increasingly more specific clay material, and increasingly higher firing temperatures. All three are made in glazed and unglazed varieties, for different purposes. All may.

Pottery. also be decorated by various techniques. In many examples the group a piece belongs to is immediately visually apparent, but this is not always the case. The fritware of the Islamic world does not use clay, so technically falls outside these groups. Historic pottery of all these types is often grouped as either "fine" wares, relatively expensive and well-made, and following the aesthetic taste of the culture concerned, or alternatively "coarse", "popular", "folk" or "village" wares, mostly undecorated, or simply so, and often less well-made.Cooking in clay pots became less popular once metal pots became available, but is still used.

Pottery. for dishes that depend on the qualities of pottery cooking, such as biryani, cassoulet, daube, tagine, jollof rice, kedjenou, cazuela, and baked beans.## Main types.## Earthenware.The earliest forms of pottery were made from clays that were fired at low temperatures, initially in pit-fires or in open bonfires. They were hand formed and undecorated. Earthenware can be fired as low as 600 °C, and is normally fired below 1200 °C. Because unglazed biscuit earthenware is porous, it has limited utility for the storage of liquids or as tableware. However, earthenware has had a continuous history from the Neolithic period to today.

Pottery. It can be made from a wide variety of clays, some of which fire to a buff, brown or black colour, with iron in the constituent minerals resulting in a reddish-brown. Reddish coloured varieties are called terracotta, especially when unglazed or used for sculpture. The development of ceramic glaze made impermeable pottery possible, improving the popularity and practicality of pottery vessels. The addition of decoration has evolved throughout its history.## Stoneware.Stoneware is pottery that has been fired in a kiln at a relatively high temperature, from about 1,100 °C to 1,200 °C, and is stronger and non-porous to liquids. The.

Pottery. as art.## Porcelain.Porcelain is made by heating materials, generally including kaolin, in a kiln to temperatures between 1200 and 1400 (°C). This is higher than used for the other types, and achieving these temperatures was a long struggle, as well as realizing what materials were needed. The toughness, strength and translucence of porcelain, relative to other types of pottery, arises mainly from vitrification and the formation of the mineral mullite within the body at these high temperatures.Although porcelain was first made in China, the Chinese traditionally do not recognise it as a distinct category, grouping it with stoneware as "high-fired.

Pottery. ware, opposed to "low-fired" earthenware. This confuses the issue of when it was first made. A degree of translucency and whiteness was achieved by the Tang dynasty (AD 618–906), and considerable quantities were being exported. The modern level of whiteness was not reached until much later, in the 14th century. Porcelain was also made in Korea and in Japan from the end of the 16th century, after suitable kaolin was located in those countries. It was not made effectively outside East Asia until the 18th century.## Archaeology.The study of pottery can help to provide an insight into past cultures. Fabric.

Pottery. analysis (see section below), used to analyse the "fabric of pottery", is important part of archaeology for understanding the archaeological culture of the excavated site by studying the fabric of artifacts, such as their usage, source material composition, decorative pattern, color of patterns, etc. This helps to understand characteristics, sophistication, habits, technology, tools, trade, etc. of the people who made and used the pottery. Carbon dating reveals the age. Sites with similar pottery characteristics have the same culture, those sites which have distinct cultural characteristics but with some overlap are indicative of cultural exchange such as trade or living in.

Pottery. vicinity or continuity of habitation, etc. Examples are black and red ware, redware, Sothi-Siswal culture and Painted Grey Ware culture. The six fabrics of Kalibangan is a good example of use of fabric analysis in identifying a differentiated culture which was earlier thought to be typical Indus Valley civilisation (IVC) culture.Pottery is durable, and fragments, at least, often survive long after artifacts made from less-durable materials have decayed past recognition. Combined with other evidence, the study of pottery artefacts is helpful in the development of theories on the organisation, economic condition and the cultural development of the societies that produced.

Pottery. or acquired pottery. The study of pottery may also allow inferences to be drawn about a culture's daily life, religion, social relationships, attitudes towards neighbours, attitudes to their own world and even the way the culture understood the universe.Chronologies based on pottery are often essential for dating non-literate cultures and are often of help in the dating of historic cultures as well. Trace-element analysis, mostly by neutron activation, allows the sources of clay to be accurately identified and the thermoluminescence test can be used to provide an estimate of the date of last firing. Examining fired pottery shards from prehistory,.

Pottery. of minerals in a rock. For Archaeologists, the "fabric analysis" of pottery entails the study of "clay matrix" and "inclusions" in the clay body as well as the "firing temperature and conditions". Analysis is done to examine the following 3 in detail: how pottery was made e.g. material, design such as shape and style, etc. its decorations, such as patterns, colors of patterns, slipped (glazing) or unslipped decoration evidence of type of use.The Six fabrics of Kalibangan is a good example of fabric analysis.## Clay bodies and mineral contents.Body (or clay body) is a term for the main pottery form.

Pottery. of these different clays is composed of different types and amounts of minerals that determine the characteristics of resulting pottery. There can be regional variations in the properties of raw materials used for the production of pottery, and these can lead to wares that are unique in character to a locality. It is common for clays and other materials to be mixed to produce clay bodies suited to specific purposes. A common component of clay bodies is the mineral kaolinite. Other minerals in the clay, such as feldspar, act as fluxes which lower the vitrification temperature of bodies. Following is.

Pottery. a list of different types of clay used for pottery. Kaolin, is sometimes referred to as china clay because it was first used in China. Used for porcelain. Ball clay: An extremely plastic, fine grained sedimentary clay, which may contain some organic matter. Small amounts can be added to porcelain bodies to increase plasticity. Fire clay: A clay having a slightly lower percentage of fluxes than kaolin, but usually quite plastic. It is highly heat resistant form of clay which can be combined with other clays to increase the firing temperature and may be used as an ingredient to make.

Pottery. stoneware type bodies. Stoneware clay: Suitable for creating stoneware. Has many of the characteristics between fire clay and ball clay, having finer grain, like ball clay but is more heat resistant like fire clays. Common red clay and shale clay have vegetable and ferric oxide impurities which make them useful for bricks, but are generally unsatisfactory for pottery except under special conditions of a particular deposit. Bentonite: An extremely plastic clay which can be added in small quantities to short clay to increase the plasticity.## Production of pottery.Production of pottery includes the following three stages: making clay body, i.e. paste.

Pottery. or putty. shaping and moulding firing or baking decorating, such as glazing (slipping), painting, etc.## Shaping methods.Pottery can be shaped by a range of methods that include:## Firing.Firing produces irreversible changes in the body. It is only after firing that the article or material is pottery. In lower-fired pottery, the changes include sintering, the fusing together of coarser particles in the body at their points of contact with each other. In the case of porcelain, where different materials and higher firing-temperatures are used, the physical, chemical and mineralogical properties of the constituents in the body are greatly altered. In all.

Pottery. cases, the reason for firing is to permanently harden the wares and the firing regime must be appropriate to the materials used to make them. As a rough guide, modern earthenwares are normally fired at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 (C); stonewares at between about 1100 (C) to 1300 (C); and porcelains at between about 1200 (C) to 1400 (C). Historically, reaching high temperatures was a long-lasting challenge, and earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing.## Firing methods.Firing pottery can be done using a variety of methods,.

Pottery. than a brick or stone kiln. Unfired pots are first brought to the place where a mound will be built, customarily by the women and girls of the village. The mound's foundation is made by placing sticks on the ground, then:## Firing stages.Before being shaped, clay must be prepared. Kneading helps to ensure an even moisture content throughout the body. Air trapped within the clay body needs to be removed. This is called de-airing and can be accomplished either by a machine called a vacuum pug or manually by wedging. Wedging can also help produce an even moisture content. Once.

Pottery. changes that will change the material. "Glaze fired" is the final stage of some pottery making, or "glost fired". A glaze may be applied to the bisque form and the object can be decorated in several ways. After this the object is "glazed fired", which causes the glaze material to melt, then adhere to the object. Depending on the temperature schedule the glaze firing may also further mature the body as chemical and physical changes continue.## Decorating.Pottery may be decorated in many different ways. Some decoration can be done before or after the firing. Painting has been used since early.

Pottery. prehistoric times (China painting), and can be very elaborate. The painting is often applied to pottery that has been fired once, and may then be overlaid with a glaze afterwards. Many pigments change colour when fired, and the painter must allow for this. Glaze: Perhaps the most common form of decoration, that also serves as protection to the pottery, by being tougher and keeping liquid from penetrating the pottery. Glaze may be clear, especially over painting, or coloured and opaque. There is more detail in the section below. Carving: Pottery vessels may be decorated by shallow carving of the clay.

Pottery. body, typically with a knife or similar instrument used on the wheel. This is common in Chinese porcelain of the classic periods. Burnishing: The surface of pottery wares may be "burnished" prior to firing by rubbing with a suitable instrument of wood, steel or stone to produce a polished finish that survives firing. It is possible to produce very highly polished wares when fine clays are used or when the polishing is carried out on wares that have been partially dried and contain little water, though wares in this condition are extremely fragile and the risk of breakage is high.

Pottery. hand or by machine of a band of colour to the edge of a plate or cup. Also known as "lining", this operation is often carried out on a potter's wheel. Agateware is named after its resemblance to the quartz mineral agate which has bands or layers of colour that are blended together, agatewares are made by blending clays of differing colours together but not mixing them to the extent that they lose their individual identities. The wares have a distinctive veined or mottled appearance. The term "agateware" is used to describe such wares in the United Kingdom; in Japan.

Pottery. the term ""neriage" is used and in China, where such things have been made since at least the Tang Dynasty, they are called "marbled" wares. Great care is required in the selection of clays to be used for making agatewares as the clays used must have matching thermal movement characteristics. : This is a clay slip, that is used to coat the surface of pottery, usually before firing. Its purpose is often decorative though it can also be used to mask undesirable features in the clay to which it is applied. Engobe slip may be applied by painting or by.

Pottery. dipping to provide a uniform, smooth, coating. Engobe has been used by potters from pre-historic times until the present day and is sometimes combined with sgraffito decoration, where a layer of engobe is scratched through to reveal the colour of the underlying clay. With care it is possible to apply a second coat of engobe of a different colour to the first and to incise decoration through the second coat to expose the colour of the underlying coat. Engobes used in this way often contain substantial amounts of silica, sometimes approaching the composition of a glaze. Gold: Decoration with gold.

Pottery. used for the decoration only of ware of the highest class. "Bright Gold" – consists of a solution of gold sulphoresinate together with other metal resonates and a flux. The name derives from the appearance of the decoration immediately after removal from the kiln as it requires no burnishing "Mussel Gold" – an old method of gold decoration. It was made by rubbing together gold leaf, sugar and salt, followed by washing to remove solubles## Glazing.Glaze is a glassy coating on pottery, the primary purposes of which are decoration and protection. One important use of glaze is to render porous.

Pottery. pottery vessels impermeable to water and other liquids. Glaze may be applied by dusting the unfired composition over the ware or by spraying, dipping, trailing or brushing on a thin slurry composed of the unfired glaze and water. The colour of a glaze after it has been fired may be significantly different from before firing. To prevent glazed wares sticking to kiln furniture during firing, either a small part of the object being fired (for example, the foot) is left unglazed or, alternatively, special refractory "spurs"" are used as supports. These are removed and discarded after the firing.Some specialised glazing.

Pottery. techniques include: Salt-glazing, where common salt is introduced to the kiln during the firing process. The high temperatures cause the salt to volatize, depositing it on the surface of the ware to react with the body to form a sodium aluminosilicate glaze. In the 17th and 18th centuries, salt-glazing was used in the manufacture of domestic pottery. Now, except for use by some studio potters, the process is obsolete. The last large-scale application before its demise in the face of environmental clean air restrictions was in the production of salt-glazed sewer-pipes. Ash glazing – ash from the combustion of plant.

Pottery. matter has been used as the flux component of glazes. The source of the ash was generally the combustion waste from the fuelling of kilns although the potential of ash derived from arable crop wastes has been investigated. Ash glazes are of historical interest in the Far East although there are reports of small-scale use in other locations such as the Catawba Valley Pottery in the United States. They are now limited to small numbers of studio potters who value the unpredictability arising from the variable nature of the raw material. Underglaze decoration (in the manner of many blue and.

Pottery. white wares). Underglaze may be applied by brush strokes, air brush, or by pouring the underglaze into the mould, covering the inside, creating a swirling effect, then the mould is filled with slip. In-glaze decoration On-glaze decoration Enamel## History.A great part of the history of pottery is prehistoric, part of past pre-literate cultures. Therefore, much of this history can only be found among the artifacts of archaeology. Because pottery is so durable, pottery and shards of pottery survive from millennia at archaeological sites, and are typically the most common and important type of artifact to survive. Many prehistoric cultures are.

Pottery. named after the pottery that is the easiest way to identify their sites, and archaeologists develop the ability to recognise different types from the chemistry of small shards.Before pottery becomes part of a culture, several conditions must generally be met. First, there must be usable clay available. Archaeological sites where the earliest pottery was found were near deposits of readily available clay that could be properly shaped and fired. China has large deposits of a variety of clays, which gave them an advantage in early development of fine pottery. Many countries have large deposits of a variety of clays. Second,.

Pottery. it must be possible to heat the pottery to temperatures that will achieve the transformation from raw clay to ceramic. Methods to reliably create fires hot enough to fire pottery did not develop until late in the development of cultures. Third, the potter must have time available to prepare, shape and fire the clay into pottery. Even after control of fire was achieved, humans did not seem to develop pottery until a sedentary life was achieved. It has been hypothesized that pottery was developed only after humans established agriculture, which led to permanent settlements. However, the oldest known pottery is.

Pottery. from the Czech Republic and dates to 28,000 BC, at the height of the ice age, long before the beginnings of agriculture. Fourth, there must be a sufficient need for pottery in order to justify the resources required for its production. Methods of forming: Hand-shaping was the earliest method used to form vessels. This included the combination of pinching and coiling. Firing: The earliest method for firing pottery wares was the use of bonfires pit fired pottery. Firing times might be short but the peak-temperatures achieved in the fire could be high, perhaps in the region of 900 (°C), and.

Pottery. were reached very quickly. Clay: Early potters used whatever clay was available to them in their geographic vicinity. However, the lowest quality common red clay was adequate for low-temperature fires used for the earliest pots. Clays tempered with sand, grit, crushed shell or crushed pottery were often used to make bonfire-fired ceramics because they provided an open-body texture that allowed water and volatile components of the clay to escape freely. The coarser particles in the clay also acted to restrain shrinkage during drying, and hence reduce the risk of cracking. Form: In the main, early bonfire-fired wares were made with.

Pottery. rounded bottoms to avoid sharp angles that might be susceptible to cracking. Glazing: the earliest pots were not glazed. The potter's wheel was invented in Mesopotamia sometime between 6,000 and 4,000 BC (Ubaid period) and revolutionised pottery production. Moulds were used to a limited extent as early as the 5th and 6th century BC by the Etruscans and more extensively by the Romans. Slipcasting, a popular method for shaping irregular shaped articles. It was first practised, to a limited extent, in China as early as the Tang dynasty. Transition to kilns: The earliest intentionally constructed were pit-kilns or trench-kilns—holes dug.

Pottery. in the ground and covered with fuel. Holes in the ground provided insulation and resulted in better control over firing. Kilns: Pit fire methods were adequate for creating simple earthenware, but other pottery types needed more sophisticated kilns (see below kilns).## History by region.## Beginnings of pottery.Pottery may well have been discovered independently in various places, probably by accidentally creating it at the bottom of fires on a clay soil. All the earliest vessel forms were pit fired and made by coiling, which is a simple technology to learn. The earliest-known ceramic objects are Gravettian figurines such as those discovered.

Pottery. at Dolní Věstonice in the modern-day Czech Republic. The Venus of Dolní Věstonice is a Venus figurine, a statuette of a nude female figure dated to 29,000–25,000 BC (Gravettian industry). Sherds have been found in China and Japan from a period between 12,000 and perhaps as long as 18,000 years ago. As of 2012, the earliest pottery found anywhere in the world, dating to 20,000 to 19,000 years before the present, was found at Xianrendong Cave in the Jiangxi province of China.Other early pottery vessels include those excavated from the Yuchanyan Cave in southern China, dated from 16,000 BC, and.

Pottery. those found in the Amur River basin in the Russian Far East, dated from 14,000 BC.The Odai Yamamoto I site, belonging to the Jōmon period, currently has the oldest pottery in Japan. Excavations in 1998 uncovered earthenware fragments which have been dated as early as 14,500 BC.The term "Jōmon" means "cord-marked" in Japanese. This refers to the markings made on the vessels and figures using sticks with cords during their production. Recent research has elucidated how Jōmon pottery was used by its creators.It appears that pottery was independently developed in Sub-Saharan Africa during the 10th millennium BC, with findings dating.

Pottery. to at least 9,400 BC from central Mali, and in South America during the 9,000s–7,000s BC. The Malian finds date to the same period as similar finds from East Asia – the triangle between Siberia, China and Japan – and are associated in both regions to the same climatic changes (at the end of the ice age new grassland develops, enabling hunter-gatherers to expand their habitat), met independently by both cultures with similar developments: the creation of pottery for the storage of wild cereals (pearl millet), and that of small arrowheads for hunting small game typical of grassland. Alternatively, the.

Pottery. creation of pottery in the case of the Incipient Jōmon civilisation could be due to the intensive exploitation of freshwater and marine organisms by late glacial foragers, who started developing ceramic containers for their catch.## East Asia.In Japan, the Jōmon period has a long history of development of Jōmon pottery which was characterized by impressions of rope on the surface of the pottery created by pressing rope into the clay before firing. Glazed Stoneware was being created as early as the 15th century BC in China. A form of Chinese porcelain became a significant Chinese export from the Tang Dynasty.

Pottery. (AD 618–906) onwards. Korean potters adopted porcelain as early as the 14th century AD. Japanese porcelain was made in the early 16th century after Shonzui Goradoyu-go brought back the secret of its manufacture from the Chinese kilns at Jingdezhen.In contrast to Europe, the Chinese elite used pottery extensively at table, for religious purposes, and for decoration, and the standards of fine pottery were very high. From the Song dynasty (960–1279) for several centuries elite taste favoured plain-coloured and exquisitely formed pieces; during this period true porcelain was perfected in Ding ware, although it was the only one of the Five.

Pottery. had also conquered. At the same time Jingdezhen porcelain, produced in Imperial factories, took the undisputed leading role in production, which it has retained to the present day. The new elaborately painted style was now favoured at court, and gradually more colours were added.The secret of making such porcelain was sought in the Islamic world and later in Europe when examples were imported from the East. Many attempts were made to imitate it in Italy and France. However it was not produced outside of the Orient until 1709 in Germany.## South Asia.Cord-Impressed style pottery belongs to 'Mesolithic' ceramic tradition that.

Pottery. developed among Vindhya hunter-gatherers in Central India during the Mesolithic period. This ceramic style is also found in later Proto-Neolithic phase in nearby regions. This early type of pottery, also found at the site of Lahuradewa, is currently the oldest known pottery tradition in South Asia, dating back to 7,000–6,000 BC. Wheel-made pottery began to be made during the Mehrgarh Period II (5,500–4,800 BC) and Merhgarh Period III (4,800–3,500 BC), known as the ceramic Neolithic and chalcolithic. Pottery, including items known as the ed-Dur vessels, originated in regions of the Saraswati River / Indus River and have been found in.

Pottery. a number of sites in the Indus Civilization.Despite an extensive prehistoric record of pottery, including painted wares, little "fine" or luxury pottery was made in the subcontinent in historic times. Hinduism discourages eating off pottery, which probably largely accounts for this. Most traditional Indian pottery vessels are large pots or jars for storage, or small cups or lamps, often treated as disposable. In contrast there are long traditions of sculpted figures, often rather large, in terracotta.## Southeast Asia.Pottery in Southeast Asia is as diverse as its ethnic groups. Each ethnic group has their own set of standards when it comes.

Pottery. to pottery arts. Potteries are made due to various reasons, such as trade, food and beverage storage, kitchen usage, religious ceremonies, and burial purposes.## West Asia.Around 8000 BC during the Pre-pottery Neolithic period, and before the invention of pottery, several early settlements became experts in crafting beautiful and highly sophisticated containers from stone, using materials such as alabaster or granite, and employing sand to shape and polish. Artisans used the veins in the material to maximum visual effect. Such objects have been found in abundance on the upper Euphrates river, in what is today eastern Syria, especially at the site.

Pottery. of Bouqras.The earliest history of pottery production in the Fertile Crescent starts the Pottery Neolithic and can be divided into four periods, namely: the Hassuna period (7000–6500 BC), the Halaf period (6500–5500 BC), the Ubaid period (5500–4000 BC), and the Uruk period (4000–3100 BC). By about 5000 BC pottery-making was becoming widespread across the region, and spreading out from it to neighbouring areas.Pottery making began in the 7th millennium BC. The earliest forms, which were found at the Hassuna site, were hand formed from slabs, undecorated, unglazed low-fired pots made from reddish-brown clays. Within the next millennium, wares were decorated.

Pottery. with elaborate painted designs and natural forms, incising and burnished.The invention of the potter's wheel in Mesopotamia sometime between 6000 and 4000 BC (Ubaid period) revolutionized pottery production. Newer kiln designs could fire wares to 1050 (C) to 1200 (C) which enabled new possibilities and new preparation of clays. Production was now carried out by small groups of potters for small cities, rather than individuals making wares for a family. The shapes and range of uses for ceramics and pottery expanded beyond simple vessels to store and carry to specialized cooking utensils, pot stands and rat traps. As the region.

Pottery. developed, new organizations and political forms, pottery became more elaborate and varied. Some wares were made using moulds, allowing for increased production for the needs of the growing populations. Glazing was commonly used and pottery was more decorated.In the Chalcolithic period in Mesopotamia, Halafian pottery achieved a level of technical competence and sophistication, not seen until the later developments of Greek pottery with Corinthian and Attic ware.## Europe.Europe's oldest pottery, dating from circa 6700 BC, was found on the banks of the Samara River in the middle Volga region of Russia. These sites are known as the Yelshanka culture.The early.

Pottery. inhabitants of Europe developed pottery in the Linear Pottery culture slightly later than the Near East, circa 5500–4500 BC. In the ancient Western Mediterranean elaborately painted earthenware reached very high levels of artistic achievement in the Greek world; there are large numbers of survivals from tombs. Minoan pottery was characterized by complex painted decoration with natural themes. The classical Greek culture began to emerge around 1000 BC featuring a variety of well crafted pottery which now included the human form as a decorating motif. The pottery wheel was now in regular use. Although glazing was known to these potters, it.

Pottery. was not widely used. Instead, a more porous clay slip was used for decoration. A wide range of shapes for different uses developed early and remained essentially unchanged during Greek history.Fine Etruscan pottery was heavily influenced by Greek pottery and often imported Greek potters and painters. Ancient Roman pottery made much less use of painting, but used moulded decoration, allowing industrialized production on a huge scale. Much of the so-called red Samian ware of the Early Roman Empire was in fact produced in modern Germany and France, where entrepreneurs established large potteries. Excavations at Augusta Raurica, near Basel, Switzerland, have.

Pottery. revealed a pottery production site in use from the 1st to the 4th century AD. Pottery was hardly seen on the tables of elites from Hellenistic times until the Renaissance, and most medieval wares were coarse and utilitarian, as the elites ate off metal vessels. Painted Hispano-Moresque ware from Spain, developing the styles of Islamic Spain, became a luxury for late medieval elites, and was adapted in Italy into "maiolica" in the Italian Renaissance. Both of these were faience or tin-glazed earthenware, and fine faience continued to be made until around 1800 in various countries, especially France, with Nevers faience.

Pottery. and several other centres. In the 17th century, imports of Chinese export porcelain and its Japanese equivalent raised the market expectations of fine pottery, and European manufacturers eventually learned to make porcelain, often in the form of "artificial" or soft-paste porcelain, and from the 18th century European porcelain and other wares from a great number of producers became extremely popular, reducing Asian imports.## United Kingdom.The English city of Stoke-on-Trent is widely known as "The Potteries" because of the large number of pottery factories or, colloquially, "Pot Banks". It was one of the first industrial cities of the modern era where,.

Pottery. as early as 1785, two hundred pottery manufacturers employed 20,000 workers. Josiah Wedgwood (1730–1795) was the dominant leader.In North Staffordshire hundreds of companies produced all kinds of pottery, from tablewares and decorative pieces to industrial items. The main pottery types of earthenware, stoneware and porcelain were all made in large quantities, and the Staffordshire industry was a major innovator in developing new varieties of ceramic bodies such as bone china and jasperware, as well as pioneering transfer printing and other glazing and decorating techniques. In general Staffordshire was strongest in the middle and low price ranges, though the finest and.

Pottery. most expensive types of wares were also made.By the late 18th century North Staffordshire was the largest producer of ceramics in Britain, despite significant centres elsewhere. Large export markets took Staffordshire pottery around the world, especially in the 19th century. Production had begun to decline in the late 19th century, as other countries developed their industries, and declined steeply after World War II. Some production continues in the area, but at a fraction of the levels at the peak of the industry.## Islamic pottery.Early Islamic pottery followed the forms of the regions which the Muslims conquered. Eventually, however, there was.

Pottery. cross-fertilization between the regions. This was most notable in the Chinese influences on Islamic pottery. Trade between China and Islam took place via the system of trading posts over the lengthy Silk Road. Islamic nations imported stoneware and later porcelain from China. China imported the minerals for Cobalt blue from the Islamic ruled Persia to decorate their blue and white porcelain, which they then exported to the Islamic world.Likewise, Islamic art contributed to a lasting pottery form identified as Hispano-Moresque in Andalucia (Islamic Spain). Unique Islamic forms were also developed, including fritware, lusterware and specialized glazes like tin-glazing, which led.

Pottery. to the development of the popular maiolica.One major emphasis in ceramic development in the Muslim world was the use of tile and decorative tilework.## Americas.Most evidence points to an independent development of pottery in the Native American cultures, with the earliest known dates from Brazil, from 9,500 to 5,000 years ago and 7,000 to 6,000 years ago. Further north in Mesoamerica, dates begin with the Archaic Era (3500–2000 BC), and into the Formative period (2000 BC – AD 200). These cultures did not develop the stoneware, porcelain or glazes found in the Old World. Maya ceramics include finely painted vessels,.

Pottery. usually beakers, with elaborate scenes with several figures and texts. Several cultures, beginning with the Olmec, made terracotta sculpture, and sculptural pieces of humans or animals that are also vessels are produced in many places, with Moche portrait vessels among the finest.## Africa.Evidence indicates an independent invention of pottery in Sub-Saharan Africa. In 2007, Swiss archaeologists discovered pieces of some of the oldest pottery in Africa at Ounjougou in Central Mali, dating back to at least 9,400 BC. Excavations in the Bosumpra Cave on the Kwahu Plateau in southeastern Ghana, have revealed well-manufactured pottery decorated with channelling and impressed peigne.

Pottery. fileté rigide dating from the early tenth-millennium cal. BC. In later periods, a relationship of the introduction of pot-making in some parts of Sub-Saharan Africa with the spread of Bantu languages has been long recognized, although the details remain controversial and awaiting further research, and no consensus has been reached.Ancient Egyptian pottery begins after 5,000 BC, having spread from the Levant. There were many distinct phases of development in pottery, with very sophisticated wares being produced by the Naqada III period, c. 3,200 to 3,000 BC. During the early Mediterranean civilizations of the fertile crescent, Egypt developed a non-clay-based ceramic.

Pottery. which has come to be called Egyptian faience. A similar type of body is still made in Jaipur in India. During the Umayyad Caliphate of Islam, Egypt was a link between early centre of Islam in the Near East and Iberia which led to the impressive style of pottery.It is valuable to look into pottery as an archaeological record of potential interaction between peoples. When pottery is placed within the context of linguistic and migratory patterns, it becomes an even more prevalent category of social artifact. As proposed by Olivier P. Gosselain, it is possible to understand ranges of cross-cultural.

Pottery. interaction by looking closely at the "chaîne opératoire" of ceramic production.The methods used to produce pottery in early Sub-Saharan Africa are divisible into three categories: techniques visible to the eye (decoration, firing and post-firing techniques), techniques related to the materials (selection or processing of clay, etc.), and techniques of molding or fashioning the clay. These three categories can be used to consider the implications of the reoccurrence of a particular sort of pottery in different areas. Generally, the techniques that are easily visible (the first category of those mentioned above) are thus readily imitated, and may indicate a more distant.

Pottery. connection between groups, such as trade in the same market or even relatively close proximity in settlements. Techniques that require more studied replication (i.e., the selection of clay and the fashioning of clay) may indicate a closer connection between peoples, as these methods are usually only transmissible between potters and those otherwise directly involved in production. Such a relationship requires the ability of the involved parties to communicate effectively, implying pre-existing norms of contact or a shared language between the two. Thus, the patterns of technical diffusion in pot-making that are visible via archaeological findings also reveal patterns in societal.

Pottery. interaction.## Oceania.Polynesia, Melanesia and MicronesiaPottery has been found in archaeological sites across the islands of Oceania. It is attributed to an ancient archaeological culture called the Lapita. Another form of pottery called Plainware is found throughout sites of Oceania. The relationship between Lapita pottery and Plainware is not altogether clear.The Indigenous Australians never developed pottery. After Europeans came to Australia and settled, they found deposits of clay which were analysed by English potters as excellent for making pottery. Less than 20 years later, Europeans came to Australia and began creating pottery. Since then, ceramic manufacturing, mass-produced pottery and studio pottery.

Pottery. have flourished in Australia.## Production issues (health and environment).Although many of the environmental effects of pottery production have existed for millennia, some of these have been amplified with modern technology and scales of production. The principal factors for consideration fall into two categories: (a) effects on workers, and (b) effects on the general environment.The chief risks on worker health include heavy metal poisoning, poor indoor air quality, dangerous sound levels and possible over-illumination.Historically, "plumbism" (lead poisoning) was a significant health concern to those glazing pottery. This was recognised at least as early as the nineteenth century, and the first legislation.

Pottery. in the United Kingdom to limit pottery workers' exposure was introduced in 1899.Proper ventilation to guarantee adequate indoor air quality can reduce or eliminate workers' exposure to fine particulate matter, carbon monoxide, certain heavy metals, and crystalline silica (which can lead to silicosis). A more recent study at Laney College, Oakland, California suggests that all these factors can be controlled in a well-designed workshop environment.The primary environmental concerns include off-site water pollution, air pollution, disposal of hazardous materials, and fuel consumption. Glossary of pottery terms American art pottery Celadon Ceramics of indigenous peoples of the Americas Chinese ceramics including porcelain.

Pottery. Delftware Dipped ware Faience History of ceramic art Ironstone ware Jasperware Korean ceramics Kakiemon pottery Latvian pottery Latgalian pottery Maiolica of Renaissance Italy Majolica Palissy ware Persian pottery Sancai Sea pottery Slipware SylvaC Victorian majolica Cooper, Emmanuel, "10,000 Years of Pottery", 4th ed., 2010, University of Pennsylvania Press, Savage, George, "Pottery Through the Ages", Penguin, 1959, ASTM Standard C 242-01 "Standard Terminology of Ceramic Whitewares and Related Products" Ashmore, Wendy & Sharer, Robert J., (2000). "Discovering Our Past: A Brief Introduction to Archaeology Third Edition". Mountain View, CA: Mayfield Publishing Company. Barnett, William & Hoopes, John (Eds.) (1995). "The Emergence.


Question: How many offspring can this animal produce at the same time?

Instruction: Determine the Wikipedia snippet that matches the question of this image.

Groundhog. stable, long-term pair-bonds, and during mating season male-female interactions are limited to copulation. In Ohio, adult males and females associate with each other throughout the year and often from year to year. Groundhogs are an extremely intelligent animal forming complex social networks, able to understand social behavior, form kinship with their young, understand and communicate threats through whistling, and work cooperatively to solve tasks such as burrowing.## Description.The groundhog is by far the largest sciurid in its geographical range, excepting British Columbia where its range may that of its somewhat larger cousin, the hoary marmot. Adults may measure from 41.8.

Groundhog. to 68.5 (cm) in total length, including a tail of 9.5 to 18.7 (cm). Weights of adult groundhogs typically fall between 2 and 6.3 (kg).Male groundhogs average slightly larger than females and, like all marmots, they are considerably heavier during autumn (when engaged in autumn hyperphagia) than when emerging from hibernation in spring. Adult males average year-around weight 3.83 (kg), with spring to fall average weights of 3.1 to 5.07 (kg) while females average 3.53 (kg), with spring to fall averages of 3.08 to 4.8 (kg). Seasonal weight changes indicate circannual deposition and use of fat. Groundhogs attain progressively higher.

Groundhog. "M. monax" to thrive.## Survival.In the wild, groundhogs can live up to six years with two or three being average. In captivity, groundhogs reportedly live up to 14 years. Human development, which often produces openings juxtaposed with second growth trees that are incidentally also favored by groundhogs, often ensures that groundhogs in well-developed areas are nearly free of predators, beyond humans (through various forms of pest control or roadkills) or mid-to-large sized dogs.Wild predators of adult groundhogs in most of eastern North America include coyotes, badgers, bobcats, and foxes (largely only red fox). Many of these predators are successful stealth.

Groundhog. in the state.In some areas woodchucks are important game animals and are killed regularly for sport, food, or fur. In Kentucky, an estimated 267,500 "M. monax" were taken annually from 1964 to 1971 (Barbour and Davis 1974). Woodchucks had protected status in the state of Wisconsin until 2017. Woodchuck numbers appear to have decreased in Illinois.## Behavior.The time spent observing groundhogs by field biologists represents only a small fraction of time devoted to the field research. W.J. Schoonmaker reports that groundhogs may hide when they see, smell, or hear an observer. Marmot researcher Ken Armitage states that the social biology.

Groundhog. from these averaged 6 (cuft) per den. The longest burrow measured 24 (ft) plus two short side galleries. The volume of soil taken from this den was 8 (USbu), weighing 640 (lb). The average weight of the earth taken from all eleven dens was 384 (lb). Though groundhogs are the most solitary of the marmots, several individuals may occupy the same burrow. Groundhog burrows usually have two to five entrances, providing groundhogs their primary means of escape from predators. Burrows can pose a serious threat to agricultural and residential development by damaging farm machinery and even undermining building foundations. In.

Groundhog. twenty inches to three feet (20 - 36 (in)) below ground surface. It is about 16 (in) wide and 14 (in) high. There are typically two burrow openings or holes. One is the main entrance, the other a spy hole. Description of the length of the burrow often includes side galleries. Excluding side galleries, Schoonmaker reports the longest was 24 (ft), and the average length of eleven dens was 14 (ft). W. H. Fisher investigated nine burrows, finding the deepest point 49 (in) down. The longest, including side galleries, was . Numbers of burrows per individual groundhog decrease with urbanization.Bachman.

Groundhog. during the winter months. In most areas, groundhogs hibernate from October to March or April, but in more temperate areas, they may hibernate as little as three months. Groundhogs hibernate longer in northern latitudes than southern latitudes. To survive the winter, they are at their maximum weight shortly before entering hibernation. When the groundhog enters hibernation, there is a drop in body temperature to as low as 35 (°F), heart rate falls to 4–10 beats per minute and breathing rate falls to one breath every six minutes. During hibernation, they experience periods of torpor and arousal. Hibernating woodchucks lose as.


Question: What country does this building belong to?

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Statue of Zeus at Olympia. The Statue of Zeus at Olympia was a giant seated figure, about 12.4 (m) tall, made by the Greek sculptor Phidias around 435 BC at the sanctuary of Olympia, Greece, and erected in the Temple of Zeus there. Zeus is the sky and thunder god in ancient Greek religion, who rules as king of the gods of Mount Olympus.The statue was a chryselephantine sculpture of ivory plates and gold panels on a wooden framework. Zeus sat on a painted cedarwood throne ornamented with ebony, ivory, gold, and precious stones. It was one of the Seven Wonders of the Ancient World.

Statue of Zeus at Olympia. The statue was lost and destroyed during the 5th century AD; details of its form are known only from ancient Greek descriptions and representations on coins.## History.The statue of Zeus was commissioned by the Eleans, custodians of the Olympic Games, in the latter half of the fifth century BC for their newly constructed Temple of Zeus. Seeking to outdo their Athenian rivals, the Eleans employed sculptor Phidias, who had previously made the massive statue of Athena Parthenos in the Parthenon.The statue occupied half the width of the aisle of the temple built to house it. The geographer Strabo noted early.

Statue of Zeus at Olympia. in the 1st century BC that the statue gave "the impression that if Zeus arose and stood erect he would unroof the temple." The "Zeus" was a chryselephantine sculpture, made with ivory and gold panels on a wooden substructure. No copy in marble or bronze has survived, though there are recognizable but only approximate versions on coins of nearby Elis and on Roman coins and engraved gems.The 2nd-century AD geographer and traveler Pausanias left a detailed description: the statue was crowned with a sculpted wreath of olive sprays and wore a gilded robe made from glass and carved with animals.

Statue of Zeus at Olympia. and lilies. Its right hand held a small chryselephantine statue of crowned Nike, goddess of victory; its left a scepter inlaid with many metals, supporting an eagle. The throne featured painted figures and wrought images and was decorated with gold, precious stones, ebony, and ivory. Zeus' golden sandals rested upon a footstool decorated with an Amazonomachy in relief. The passage underneath the throne was restricted by painted screens.Pausanias also recounts that the statue was kept constantly coated with olive oil to counter the harmful effect on the ivory caused by the "marshiness" of the Altis grove. The floor in front.

Statue of Zeus at Olympia. of the image was paved with black tiles and surrounded by a raised rim of marble to contain the oil. This reservoir acted as a reflecting pool which doubled the apparent height of the statue.According to the Roman historian Livy, the Roman general Aemilius Paullus (the victor over Macedon) saw the statue and "was moved to his soul, as if he had seen the god in person", while the 1st-centuryAD Greek orator Dio Chrysostom declared that a single glimpse of the statue would make a man forget all his earthly troubles.According to a legend, when Phidias was asked what inspired.

Statue of Zeus at Olympia. him—whether he climbed Mount Olympus to see Zeus, or whether Zeus came down from Olympus so that Phidias could see him—the artist answered that he portrayed Zeus according to Book One, verses 528–530 of Homer's "Iliad": The sculptor also was reputed to have immortalised Pantarkes, the winner of the boys' wrestling event at the eighty-sixth Olympiad who was said to have been his "beloved" (), by carving ("Pantarkes is beautiful") into Zeus's little finger, and by placing a relief of the boy crowning himself at the feet of the statue.According to Pausanias, "when the image was quite finished Pheidias prayed.

Statue of Zeus at Olympia. the god to show by a sign whether the work was to his liking. Immediately, runs the legend, a thunderbolt fell on that part of the floor where down to the present day the bronze jar stood to cover the place."## Loss and destruction.According to Roman historian Suetonius, the Roman Emperor Caligula gave orders that "such statues of the gods as were especially famous for their sanctity or their artistic merit, including that of Jupiter at Olympia, should be brought from Greece, in order to remove their heads and put his own in their place." The emperor was assassinated before.

Statue of Zeus at Olympia. this could happen, in 41 AD; his death was supposedly foretold by the statue, which "suddenly uttered such a peal of laughter that the scaffolding collapsed and the workmen took to their heels."In 391 AD, the Christian Roman emperor Theodosius I banned participation in pagan cults and closed the temples. The sanctuary at Olympia fell into disuse. The circumstances of the statue's eventual destruction are unknown. The 11th-century Byzantine historian Georgios Kedrenos records a tradition that it was carried off to Constantinople, where it was destroyed in the great fire of the Palace of Lausus, in 475 AD. Alternatively, the.

Statue of Zeus at Olympia. statue perished along with the temple, which was severely damaged by fire in 425 AD. But earlier loss or damage is implied by Lucian of Samosata in the later 2nd century, who referenced it in "Timon": "they have laid hands on your person at Olympia, my lord High-Thunderer, and you had not the energy to wake the dogs or call in the neighbours; surely they might have come to the rescue and caught the fellows before they had finished packing up the loot."## Phidias' workshop.The approximate date of the statue (the third quarter of the 5th century BC) was confirmed.

Statue of Zeus at Olympia. in the rediscovery (1954–1958) of Phidias' workshop, approximately where Pausanias said the statue of Zeus was constructed. Archaeological finds included tools for working gold and ivory, ivory chippings, precious stones and terracotta moulds. Most of the latter were used to create glass plaques, and to form the statue's robe from sheets of glass, naturalistically draped and folded, then gilded. A cup inscribed "ΦΕΙΔΙΟΥ ΕΙΜΙ" or "I belong to Phidias" was found at the site.List of tallest statues"George Washington", 1840 statue Kenneth D. S. Lapatin, "Chryselephantine Statuary in the Ancient Mediterranean World," Oxford University Press (2001) Alfred Mallwitz and Wolfgang Schiering,.

Statue of Zeus at Olympia. "Die Werkstatt des Pheidias in Olympia I: Olympische Forschungen V," Berlin: Walter de Gruyter (1964) Wolfgang Schiering, "Die Werkstatt des Pheidias in Olympia II: Werkstattfunde: Olympische Forschungen XVIII", Berlin: Walter de Gruyter (1991) Janette McWilliam, Rashna Taraporewalla, Tom Stevenson, and Sonia Puttock (Ed.), "The Statue of Zeus at Olympia. New Approaches". Cambridge, Cambridge Scholars Publishing (2011)Barringer, Judith M. 2010. "Zeus at Olympia." In "The gods of ancient Greece: Identities and transformations." Edited by Jan Bremmer and Andrew Erskine, 155–77. Edinburgh: Edinburgh Univ. Press.Boardman, John. 1985. "Greek sculpture: The Classical period." London: Thames & Hudson.Lapatin, Kenneth D. S. 2001. "Chryselephantine statuary.

Statue of Zeus at Olympia. in the ancient Mediterranean world." Oxford: Oxford Univ. Press.McWilliam, Janette. 2011. "The statue of Zeus at Olympia in Western imagination via the Internet." In "The statue of Zeus at Olympia: New approaches." Edited by Janette McWilliam, Sonia Puttock, Tom Stevenson, and Rashna Taraporewalla, 209–22. Newcastle, UK: Cambridge Scholars.Palagia, Olga, and J. J. Pollitt, eds. 1996. "Personal styles in Greek sculpture." Cambridge, UK, and New York: Cambridge Univ. Press.World History Encyclopedia - Statue of Zeus at OlympiaColin Delaney, "A Wonder to Behold: The Statue of Olympian Zeus"Archaeopaedia: Statue of Zeus With bibliography(Ellen Papakyriakou) Olympia: Art: the chryselephantine statue of ZeusMichael Lahanas,.


Question: How many offspring can this animal produce at the same time?

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Gray fox. in North America. This explains the gray fox's tendency to change behavior in response to the coyote threat, as they are essentially lower on the food chain. ## Reproduction.The gray fox is assumed to be monogamous, like other foxes. The breeding season of the gray fox varies geographically; in Michigan, the gray fox mates in early March, in Alabama, breeding peaks occur in February. The gestation period lasts approximately 53 days. Litter size ranges from 1–7, with a mean of 3.8 young per female.The sexual maturity of females is around 10 months of age. Kits begin to hunt with their.


Question: What is the closest parent taxonomy of this plant?

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Rudbeckia laciniata. Rudbeckia laciniata, the cutleaf coneflower, is a species of flowering plant in the family Asteraceae. It is native to North America, where it is widespread in both Canada and the United States. Its natural habitat is wet sites in flood plains, along stream banks, and in moist forests. Common names other than cutleaf coneflower include cutleaf, goldenglow, green-headed coneflower, tall coneflower, sochan and thimbleweed.The Latin specific epithet "laciniata" refers to the pinnately divided leaves.## Description.It is a robust herbaceous perennial plant growing up to 3 (m) tall. It has broadly ovate and somewhat glaucous leaves that are often deeply dissected.

Rudbeckia laciniata. The alternate leaves are usually divided into a petiole and a leaf blade. The smooth or hairy leaf blade is simple or one to two-pinnate. The leaflets are lobed three to eleven times. The leaf margin is smooth to roughly serrated. The lower leaves are 15 to 50 (in) long and 10 to 25 (in) inches wide. The upper leaves are 8 to 40 (cm) long and 3 to 20 (cm) wide. Long rhizomes are formed as persistence organs with fibrous roots. The stem is bare.## Inflorescence.The composite flowers (flower heads) are produced in late summer and autumn. The disc.

Rudbeckia laciniata. flowers are green to yellowish green, while the rays are pale yellow. In umbrella-clustered total inflorescences, two to 25 cup-shaped partial inflorescences stand together. The flower heads, which have a diameter of 7 to 15 (cm), stand on long stems. 8 to 15 irregularly arranged, foliage-like, smooth to hairy bracts have a length of up to 2 cm and usually a ciliate border. The inflorescence base is almost spherical to conical. The chaff leaves are 3 to 7 (mm) long.In a flower basket there are 8–12 ray flowers and 150 to over 300 tubular disk flowers. The golden-yellow rays are.

Rudbeckia laciniata. 1.5 to 5 cm long and 4 to 14 (mm) wide and are later repulsed. The yellow to yellowish-green tubular flowers are 9 to 30 (mm) in length and 10 to 23 mm in diameter, with yellow corolla lobes 3.5 to 5 (mm) long. The stylus branches have a length of 1 to 1.5 mm.The 3 to 4.5 mm long achenes have a crown-shaped or four up to 1.5 mm long scales consisting of pappus.## Similar species."R. hirta" is similar, with a hemispherical disk and orangish-yellow rays.## Taxonomy.Up to six varieties of "R. laciniata" are currently recognized. The varieties "ampla.

Rudbeckia laciniata. and "heterophylla" are considered to be the most distinctive, while the others less so. There is variation in treatment among authors, with the less distinctive varieties sometimes being subsumed into "laciniata", and variety "ampla" sometimes recognized at the species level.The six varieties are:"Rudbeckia laciniata" var. "ampla" – Native west of the Great Plains, into to the Rocky Mountains"Rudbeckia laciniata" var. "bipinnata" – Native to New England and the Mid-Atlantic area"Rudbeckia laciniata" var. "digitata" – Native to the Southeastern Coastal Plain"Rudbeckia laciniata" var. "heterophylla" – Endemic to Levy County, Florida"Rudbeckia laciniata" var. "humilis" – Native to the southern Appalachian Mountains"Rudbeckia laciniata.

Rudbeckia laciniata. var. "laciniata" – Widespread and common, native across eastern North America## Cultivation."Rudbeckia laciniata" is widely cultivated in gardens and for cut flowers. Numerous cultivars have been developed, of which 'Herbstsonne' ("Autumn sun") and 'Starcadia Razzle Dazzle' have gained the Royal Horticultural Society's Award of Garden Merit. The cultivar 'Goldquelle' features double yellow, pom-pom blooms that are 8 cm across."Rudbeckia laciniata" has long been cultivated as an ornamental plant and came to Paris in the private garden of Vespasias Robin at the beginning of the 17th century. Caspar Bauhin also received this ornamental plant from Robin in 1622 , who described.

Rudbeckia laciniata. it as 'Doronicum americanum laciniato folio'. The first garden in Germany in which it is recorded is Altdorf 1646. The double-flowered form, which is mainly cultivated, has been known since around 1894. The first naturalizations on river banks in Central Europe were observed in the 18th century. Anton Johann Krocker reported about it in 1787 in Queistal near Flinsburg in eastern Upper Lusatia. As an ornamental plant, varieties are used in parks and gardens in temperate areas, for example also filled forms. In Europe, Rudbeckia laciniata became wild in various countries. Besides Europe, Rudbeckia laciniata is a neophyte in China.

Rudbeckia laciniata. and New Zealand. [6] The Lady Bird Johnson Wildflower Center notes that "Because it spreads rampantly by underground stems, cut-leaf coneflower is only appropriate for large sites."## Toxicity.The plant is somewhat toxic to livestock.## Uses.Traditionally, the young leaves have been gathered from the wild and eaten in the early spring. They are greatly favored as a potherb (cooked). Though some references state the use of this plant as salad greens (raw), traditional use is as cooked greens. This is assumed to be done to remove toxins. However, there is little evidence of their presence. One report cites circumstantial evidence of.


Question: How many days does the gestation of this animal take?

Instruction: Determine the Wikipedia snippet that matches the question of this image.

Walrus. Norse word ('horse'). For example, the Old Norse word means 'horse-whale' and is thought to have been passed in an inverted form to both Dutch and the dialects of northern Germany as and . An alternative theory is that it comes from the Dutch words 'shore' and 'giant'.The species name "rosmarus" is Scandinavian. The Norwegian manuscript "Konungs skuggsjá", thought to date from around AD 1240, refers to the walrus as in Iceland and in Greenland (walruses were by now extinct in Iceland and Norway, while the word evolved in Greenland). Several place names in Iceland, Greenland and Norway may originate.

Walrus. Tusks and dentition.While this was not true of all extinct walruses, the most prominent feature of the living species is its long tusks. These are elongated canines, which are present in both male and female walruses and can reach a length of 1 m (3 ft 3 in) and weigh up to 5.4 kg (12 lb). Tusks are slightly longer and thicker among males, which use them for fighting, dominance and display; the strongest males with the largest tusks typically dominate social groups. Tusks are also used to form and maintain holes in the ice and aid the walrus in.

Walrus. Vibrissae (whiskers).Surrounding the tusks is a broad mat of stiff bristles ("mystacial vibrissae"), giving the walrus a characteristic whiskered appearance. There can be 400 to 700 vibrissae in 13 to 15 rows reaching 30 cm (12 in) in length, though in the wild they are often worn to much shorter lengths due to constant use in foraging. The vibrissae are attached to muscles and are supplied with blood and nerves, making them highly sensitive organs capable of differentiating shapes 3 (mm) thick and 2 (mm) wide.## Skin.Aside from the vibrissae, the walrus is sparsely covered with fur and appears bald.

Walrus. walrus numbers have again declined. Early aerial censuses of Pacific walrus conducted at five-year intervals between 1975 and 1985 estimated populations of above 220,000 in each of the three surveys.In 2006, the population of the Pacific walrus was estimated to be around 129,000 on the basis of an aerial census combined with satellite tracking. There were roughly 200,000 Pacific walruses in 1990.The much smaller population of Atlantic walruses ranges from the Canadian Arctic, across Greenland, Svalbard, and the western part of Arctic Russia. There are eight hypothetical subpopulations of Atlantic walruses, based largely on their geographical distribution and movements: five.

Walrus. A genetically distinct population existed in Iceland that was wiped out after Norse settlement around 1213–1330 AD.The isolated population of Laptev Sea walruses is confined year-round to the central and western regions of the Laptev Sea, the eastmost regions of the Kara Sea, and the westmost regions of the East Siberian Sea. The current population of these walruses has been estimated to be between 5,000 and 10,000.Even though walruses can dive to depths beyond 500 meters, they spend most of their time in shallow waters (and the nearby ice floes) hunting for food.In March 2021, a single walrus, nicknamed Wally.

Walrus. while giving birth and aggregating in the reproductive period. Thinner pack ice over the Bering Sea has reduced the amount of resting habitat near optimal feeding grounds. This more widely separates lactating females from their calves, increasing nutritional stress for the young and lower reproductive rates. Reduced coastal sea ice has also been implicated in the increase of stampeding deaths crowding the shorelines of the Chukchi Sea between eastern Russia and western Alaska. Analysis of trends in ice cover published in 2012 indicate that Pacific walrus populations are likely to continue to decline for the foreseeable future, and shift further.

Walrus. the Inuit goddess Sedna. Both in Chukotka and Alaska, the aurora borealis is believed to be a special world inhabited by those who died by violence, the changing rays representing deceased souls playing ball with a walrus head.Most of the distinctive 12th-century Lewis Chessmen from northern Europe are carved from walrus ivory, though a few have been found to be made of whales' teeth.## Literature.Because of its distinctive appearance, great bulk, and immediately recognizable whiskers and tusks, the walrus also appears in the popular cultures of peoples with little direct experience with the animal, particularly in English children's literature. Perhaps.


Question: What is the length in kilometre is the mountain in the image?

Instruction: Retrieve a Wikipedia paragraph that provides an answer to the given query about the image.

Salève. Salève, a cable car, since 1932 (rebuilt in 1983). The Salève stretches between Étrembières in the north and the suspension bridge of La Caille in the south. Between 1892 and 1935, the Salève was served by the first electric rack railway in the world (Chemin de fer du Salève).The eastern side of the Salève dives under the molasse of the Bornes Massif while the abrupt mountain slope facing Geneva is subject to erosion. The vegetation – or the absence thereof – enhances the limestone's layers. This side of the mountain is slit by several narrow and deep gorges, among which.

Salève. the Grande Varappe, which at the end of the 19th century gave its name to the activity of rock climbing in French. This discipline developed intensely there, at a time when it was only beginning.The Monnetier Valley, separating the Petit and Grand Salève, is due to glaciary erosion. Modern geologists now think that this valley was dug by the subglaciary currents in a fissured region between the Petit and Grand Salève and not by the Arve as was assumed earlier.## From prehistory to green tourism.Between 12,000 and 10,000 BC, the Salève hosted a magdalenian site. From 1833, Genevan physician François.

Salève. proposed by Lamartine in 1825 as the conclusion of his friend Lord Byron's uncompleted poem, is located on the Salève. Byron died in 1824. (See the French page for the complete "Dedicace"). "Le Ruisseau" is a poem by Théophile Gautier located on the foot of the Salève (1869). (See the French page for the complete poem).## The Salève in paintings.The Salève occurs on one of the first European paintings depicting a realistic landscape, "La Pêche Miraculeuse" by Konrad Witz created in 1444.Cable carHike club starting 10am on Sundays mornings from Veyrier-DouaneSaleve Airlines, school of paraglidingShedrub Choekhor Ling site.


Question: Who designed this facility?

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La Recoleta Cemetery. () and a church, Our Lady of Pilar ("), built in 1732.The order was disbanded in 1822, and the garden of the convent was converted into the first public cemetery in Buenos Aires. Inaugurated on 17 November of the same year under the name of " (Northern Cemetery), those responsible for its creation were the then-Governor Martin Rodríguez, who would be eventually buried in the cemetery, and government minister Bernardino Rivadavia.The 1822 layout was done by French civil engineer Próspero Catelin, who also designed the current facade of the Buenos Aires Metropolitan Cathedral. The cemetery was last remodeled in 1881,.


Question: Where is this plant originally discovered?

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Rye. northern China.Production levels of rye have fallen since 1992 in most of the producing nations, . For instance, production of rye in Russia fell from 13.9 (e6t) in 1992 to 2.4 (e6t) in 2020. Corresponding figures for other countries are as follows: Polandfalling from 4.0 (Mt) in 1992 to 2.9 (Mt) in 2020; Belarusfalling from 3.1 (Mt) in 1992 to 1.1 (Mt) in 2020; Chinafalling from 1.7 (Mt) in 1992 to 0.5 (Mt) in 2020. However, production levels rose in Germany from 2.4 (Mt) in 1992 to 3.5 (Mt) in 2020.World trade of rye is low compared with other grains.


Question: What country does this building belong to?

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Holyrood Abbey. of Holyrood Chapel" by the French artist Louis Daguerre.## In literature.In March 1825, a moonlit scene entitled 'Ruins of Holyrood Chapel' was put into the Diorama, Regent's Park, London, inspiring the poem 'Holyrood' by Letitia Elizabeth Landon. Although the article in the Gazette does not say so specifically, this is presumably the display mentioned in the article on the work by Louis Daguerre above. Abbeys and priories in Scotland Abbot of Holyrood, for a list of abbots and commendators Kirk of the Canongate Oldest buildings in the United Kingdom Dalgarnock Village, Church and ParishBurnett, Charles and Bennett, Helen, The Green.


Question: What is the closest upper taxonomy of this plant?

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Pinyon pine. pinyon nut or seed is high in fats and calories.Pinyon wood, especially when burned, has a distinctive fragrance, making it a common wood to burn in chimeneas. Pinyon pine trees are also known to influence the soil in which they grow by increasing concentrations of both macronutrients and micronutrients.Some of the species are known to hybridize, the most notable ones being "P. quadrifolia" with "P. monophylla", and "P. edulis" with "P. monophylla".The two-needle piñon ("Pinus edulis") is the official state tree of New Mexico.## Evolutionary History.The evolutionary origins of the piñons appear to coincide with the Laramide Orogeny## Species.Genetic differentiation.

Pinyon pine. in the pinyon pine has been observed associated to insect herbivory and environmental stress. There are eight species of true pinyon ("Pinus" subsection "Cembroides"): "Pinus cembroides" – Mexican pinyon "Pinus orizabensis" – Orizaba pinyon "Pinus johannis" – Johann's pinyon (includes "P. discolor" – border pinyon) "Pinus culminicola" – Potosi pinyon "Pinus remota" – Texas pinyon or papershell pinyon "Pinus edulis" – two-needle piñon or Colorado pinyon "Pinus monophylla" – single-leaf pinyon "Pinus quadrifolia" – Parry pinyon (includes "P. juarezensis").These additional Mexican species are also related, and mostly called pinyons: "Pinus rzedowskii" – Rzedowski's pine "Pinus pinceana" – weeping pinyon "Pinus.

Pinyon pine. maximartinezii" – big-cone pinyon "Pinus nelsonii" – Nelson's pinyonThe three bristlecone pine species of the high mountains of the southwestern United States, and the lacebark pines of Asia are closely related to the pinyon pines.## Piñon seeds in Native American cuisine.The seeds of the pinyon pine, known as "pine nuts" or "piñóns", are an important food for American Indians living in the mountains of the North American Southwest. All species of pine produce edible seeds, but in North America only pinyon produces seeds large enough to be a major source of food.The pinyon has likely been a source of food.

Pinyon pine. nuts, without dispersing them. Pine classification Arboretum de Villardebelle Images of the cones of all the pinyons and allied pines.


Question: What is this plant named after?

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Abelia. Taxonomy.The generic name commemorates Clarke Abel, a keen naturalist who accompanied Lord Amherst's unsuccessful embassy to China in 1816 as a surgeon, under the sponsorship of Sir Joseph Banks. All of Abel's seeds and plants were lost in a shipwreck on the homeward voyage, however; living plants of "Abelia chinensis" (now "Linnaea chinensis") were first imported to England in 1844 by Robert Fortune.Some species placed in "Abelia" were transferred to "Linnaea" at various times from 1872 onwards, but these transfers were not accepted by most botanists. Molecular phylogenetic studies showed that a number of genera traditionally placed in the tribe.


Question: What country does this building belong to?

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Aghjots Vank. Aghjots Vank (); also known as the Saint Stephen Monastery of Goght (), is a 13th-century monastery situated along a tributary of the Azat River Valley within the Khosrov State Reserve located half a mile walk from the hamlet of Mets Gilanlar, and near the villages of Goght and Garni (approximately 3–4 miles) in the Ararat Province of Armenia. Not far from this location and also within the reserve is the fortress of Kakavaberd and the monastic complex of Havuts Tar.## Etymology.The etymology of "Aghjots" Vank is derived from the nearby abandoned village of Aghjots.## History and Site.According to local.

Aghjots Vank. folklore, the monastery was founded by Grigor Lusavorich upon the site of the martyrdom of "Stepanos" (Stephen), a supposed companion to Saint Hripsime during the time of Armenia's conversion to Christianity in 301 AD. The 5th-century Armenian historian Agathangelos wrote that the young and beautiful Hripsimé who at the time was a Christian nun in Rome, was to be forcefully married to the Roman emperor Diocletian. She and the abbess Gayané among other nuns fled the tyrant emperor and left to Armenia. The pagan Armenian King Trdat received a letter from Diocletian in which he described her beauty. Trdat discovered.

Aghjots Vank. Garni. The monastery was despoiled again in the 18th century and permanently ruined during the Armenian–Tatar massacres of 1905–1907. It now sits in ruins within the Khosrov State Reserve.Numerous inscriptions may be seen on the churches and gavit. The site has several khatchkars dating from the 12th to 17th centuries, some of which were built into the walls of the structures. There is a cemetery from the 7th to 17th centuries located approximately 150 meters west of the complex upon a hill.Aghjots Monastery is included in the watch list of World Monument Fund. Armeniapedia: Aghjots Vank Virtualarmenia.am: Aghjots VankAghjots Monastery.


Question: What product does this tunnel produce?

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Shaft sinking. Shaft mining or shaft sinking is the action of excavating a mine shaft from the top down, where there is initially no access to the bottom. Shallow shafts, typically sunk for civil engineering projects, differ greatly in execution method from deep shafts, typically sunk for mining projects.Shaft sinking is one of the most difficult of all mine development methods: restricted space, gravity, groundwater and specialized procedures make the task quite formidable. Shafts may be sunk by conventional drill and blast or mechanised means.Historically, mine shaft sinking has been among the most dangerous of all the mining occupations and the preserve.

Shaft sinking. of mining contractors called sinkers. Today shaft sinking contractors are concentrated in Canada, Germany, China and South Africa.The modern shaft sinking industry is gradually shifting further towards greater mechanisation, recent innovations in the form of full-face shaft boring (akin to a vertical tunnel boring machine) have shown promise but the use of this method is, as of 2019, not widespread.## Mine shafts.Mine shafts are vertical or near-vertical tunnels, which are "sunk" as a means of accessing an underground ore body, during of the development of an underground mine.The shape (in plan view), dimensions and depth of mine shafts vary greatly.

Shaft sinking. in response to the specific needs of the mine they are part of and the geology they are sunk through. For example, in North and South America, smaller shafts are designed to be rectangular in plan view with timber supports. Larger shafts are round in plan and are concrete lined.Mine shafts may be used for a variety of purposes, including as a means of escape in the event of an emergency underground and allowing for the movement of: People Materials Mine services (such as compressed air, water, backfill, power, communications and fuel) Ventilation air Broken rock (in the form of.

Shaft sinking. payable ore, or non payable waste) Or any combination of the aboveWhen the top of the excavation is the ground surface, it is referred to as a "shaft"; when the top of the excavation is underground, it is called a "winze" or a "sub-shaft". Small shafts may be excavated upwards from within an existing mine as long as there is access at the bottom, in which case they are called "raises".A shaft may be either vertical or inclined (between 80 and 90 degrees to the horizontal), although most modern mine shafts are vertical. If access exists at the bottom of.

Shaft sinking. the proposed shaft, and ground conditions allow, then raise boring may be used to excavate the shaft from the bottom up; such shafts are called "borehole shafts".Following the Hartley Colliery disaster where the single shaft at the mine became blocked, the United Kingdom made single shaft mines illegal in 1862, establishing the practice that all underground mines must have a "a second means of egress". Many other global mining jurisdictions have adopted this rule and shafts are therefore often found in pairs (although there are multiple alternative methods of providing a second means of egress).The current the deepest single lift.

Shaft sinking. (i.e. continuous) mine shaft in the world is the 2991m deep, main shaft at South Deep Mine in South Africa, owned by Gold Fields Limited, which, along with its twin ventilation shafts, took ten years to sink and equip.## Parts of a mine shaft.The most visible feature of a traditionally-built mine shaft is the headframe (or winding tower, poppet head or pit head) which stands above the shaft. Depending on the type of hoist (or winder) used, the top of the headframe will either house a hoist motor or a sheave wheel (with the hoist motor mounted on the ground).

Shaft sinking. The headframe will also typically contain bins for storing ore being transferred to the processing facility.At ground level beneath and around the headframe is the Shaft Collar (also called the Bank or Deck), which provides the foundation necessary to support the weight of the headframe and provides a means for workers, materials and services to enter and exit the shaft. Collars are usually massive reinforced concrete structures with more than one level. If the shaft is used for mine ventilation, a plenum space or casing is incorporated into the collar to ensure the proper flow of air into and out.

Shaft sinking. of the mine.Beneath the collar the part of the shaft which continues into the ground is called the "shaft barrel".At locations where the shaft barrel meets horizontal workings there is a "shaft station" (or inset) which allows men, materials and services to enter and exit the shaft. From the station tunnels (drifts, galleries or levels) extend towards the ore body, sometimes for many kilometers. The lowest shaft station is most often the point where rock leaves the mine levels and is transferred to the shaft, if so a "loading pocket" is excavated on one side of the shaft at this.

Shaft sinking. location to allow transfer facilities to be built.Beneath the lowest shaft station the shaft continues on for some distance, this area is referred to as the "shaft bottom". A tunnel called a "ramp" typically connects the bottom of the shaft with the rest of the mine, this ramp often contains the mine's water handling facility, called the "sump", as water will naturally flow to the lowest point in the mine.## Shaft lining.Many (although not all) shafts are lined following excavation and the installation of temporary ground support.The shaft lining performs several functions; it is first and foremost a safety feature.

Shaft sinking. preventing loose or unstable rock from falling into the shaft, then a place for shaft sets to bolt into, and lastly a smooth surface to minimise resistance to airflow for ventilation.Final choice of shaft lining is dependent on the geology of the rock which the shaft passes through, some shafts have several liners sections as required Where shafts are sunk in very competent rock there may be no requirement for lining at all, or just the installation of welded mesh and rock bolts. The material of choice for shaft lining is mass concrete which is poured behind "shaft forms" in.

Shaft sinking. lifts of 6 m as the shaft advances (gets deeper).Shotcrete, fibrecrete, brick, cast iron tubing, and precast concrete segments have all been used at one time or another. Additionally, the use of materials like bitumen and even squash balls have been required by specific circumstances. In extreme cases, particularly when sinking through halite, composite liners consisting of two or more materials may be required.The shaft liner does not reach right to the bottom of the shaft during sinking, but lags behind by a fixed distance. This distance is determined by the methodology of excavation and the design thickness of the.

Shaft sinking. permanent liner. To ensure the safety of persons working on the shaft bottom temporary ground support is installed, usually consisting of welded mesh and rock bolts. The installation of the temporary ground support (called "bolting") is among the most physically challenging parts of the shaft sinking cycle as bolts must be installed using pneumatic powered rock drills.For this reason, and to minimise the number of persons on the shaft bottom a number of projects have successfully switched to shotcrete for this temporary lining. Research and development in this area is focusing on the robotic application of shotcrete and the commercialisation.

Shaft sinking. of thin sprayed polymer liners.## Shaft compartments.Where the shaft is to be used for hoisting it is frequently split into multiple compartments by "shaft sets", these may be made of either timber or steel. Vertical members in a shaft set are called "guides", horizontal members are called "buntons". For steel shaft guides, the main two options are hollow structural sections and top hat sections. Top hat sections offer a number of advantages over hollow structural sections including simpler installation, improved corrosion resistance and increased stiffness. Mine conveyances run on the guides in a similar way to how a steel roller.

Shaft sinking. coaster runs on its rails, both having wheels which keep them securely in place.Some shafts do not use guide beams but instead utilize steel wire rope (called "guide rope") kept in tension by massive weights at shaft bottom called "cheese weights" (because of their resemblance to a truckle or wheel of cheese) as these are easier to maintain and replace.The largest compartment is typically used for the "mine cage", a conveyance used for moving workers and supplies below the surface, which is suspended from the hoist on steel wire rope. It functions in a similar manner to an elevator. Cages.

Shaft sinking. may be single-, double-, or rarely triple-deck, always having multiple redundant safety systems in case of unexpected failure.The second compartment is used for one or more skips, used to hoist ore to the surface. Smaller mining operations use a skip mounted underneath the cage, rather than a separate device, while some large mines have separate shafts for the cage and skips. The third compartment is used for an emergency exit; it may house an auxiliary cage or a system of ladders. An additional compartment houses mine services such as high voltage cables and pipes for transfer of water, compressed air.

Shaft sinking. or diesel fuel.A second reason to divide the shaft is for ventilation. One or more of the compartments discussed above may be used for air intake, while others may be used for exhaust. Where this is the case a steel or concrete wall called a "brattice" is installed between the two compartments to separate the air flow. At many mines there are one or more complete additional separate "auxiliary shafts" with separate head gear and cages.## Shaft construction.The lowest point in a sinking shaft is known as "shaft bottom", shaft projects differ from some other forms of mine development in.

Shaft sinking. that all activities that take place on shaft bottom become part of the critical path for the project schedule. The infrastructure required to sink a shaft is referred to a "the sinking set-up".It is typical for progress (the "sinking rate") in the sinking phase (that is excavation, ground support and lining) of a shaft project to follow a learning curve as the project team repeat the same series of activities over and over in what is called "the sinking cycle", eventually approaching the theoretical maximum rate for that sinking set up over time. The use of experienced shaft sinkers is.

Shaft sinking. necessary to reduce the length of this learning curve and thus the duration of the project as much as possible.Key to a successful shaft sinking project are: Getting the various components of the sinking set-up correct and installed at the right time. Having experienced people involved from as early in the project as possible Using the available time on shaft bottom as efficiently as possible.Although significant emphasis is placed on the rate of progress of a project sinking cycle by shaft sinkers, sinking is only one of a number of phases in the conventional construction of a new shaft, as.

Shaft sinking. follows; "Box Cut Excavation". A box cut is a large square or rectangular excavation typically completed using earthmoving equipment down to bedrock, inside which the shaft collar will be constructed. Having the loads imposed by the collar, headframe and hoisting plant transferred into solid rock is necessary to prevent unplanned subsidence. Where the depth of bedrock is to great to for a box cut to economically viable, or the bedrock is not strong enough, civil engineering techniques such as diaphragm walls or concrete piles may be used to create a deep foundation instead. "Pre-Sink". The pre-sink is the excavation and.

Shaft sinking. support of the first 60 – 100 meters of the shaft barrel, often completed smaller equipment such as handheld, pneumatic drilling equipment to drill holes for basting and ground support and mini-excavators for mucking. During the pre-sink hoisting of muck and equipment is usually performed by a mobile crane on surface. It is necessary to sink this part of the shaft first so that the Galloway, a multi-level working platform may be installed with enough vertical distance to shaft bottom that it will not be damaged by fly rock during blasting. "Collar Construction". From the bottom of the box-cut, the.

Shaft sinking. shaft collar is constructed bottom up in a planned series of concrete pours. "Galloway (Sinking Stage) Construction & Installation." The Galloway (also known as a Sinking Stage or Scaffold) is a multi-level working platform, suspended in the shaft from winches located on surface. The Galloway allows sinkers to efficiently work on differing levels as required by the various tasks of the sinking cycle. It is typical for the Galloway to be constructed off to one side of the shaft and lowered into the pre-sink with a crane in as complete a state as possible. Once in place the Galloway is.

Shaft sinking. "chaired" (suspended from the shaft collar) while the headframe is built above, often protected by a bulkhead. "Headframe & Hoist House Construction." With the collar constructed and the Galloway installed the headframe and hoist (or winder) houses may be constructed and the hoist and winch ropes installed. Headframes may be either steel or concrete and their design will determine how they are constructed. The Galloway is moved in the shaft by means of winches, which move slowly and are rated for significant loads, while the sinking buckets (or kibbles) are moved in the shaft by the sinking hoist, which moves.

Shaft sinking. quickly and is rates for less load that the winches. To protect the hoist(s) and winches and the sensitive electronics which are used to control their operation they are normally installed inside of a build called a hoist (or winder) house. "Commissioning Sinking Set Up." The Sinking set-up must then be commissioned to ensure that all parts are operating as planned. "Full Sink". The activities of the sinking cycle (excavation, installation of temporary ground support, placement of the shaft lining and extending shaft services) all take place in this phase of construction. In a shaft where there are to be.

Shaft sinking. multiple working levels, shaft stations and station stubs (short lengths of horizontal tunnel leading away from the station) will be developed by the sinkers on the way down. As the equipment to excavate these stations must be small enough to fit through the openings in the Galloway, the rate of advance in developing the station stubs is typically low, compared to what can be achieved with full size mining equipment so station stubs are typically kept as short as possible. "Shaft Equipping & Headframe Changeover." Once the shaft reaches the final design depth, the shaft is stripped of any temporary.

Shaft sinking. services, the Galloway cut up or modified to suit the installation of the permanent shaft set-up, the shaft sets (if required) installed and the headframe / winders modified to allow for permanent hoisting. Any permanent conveyances will be installed at this stage. "Commissioning Permanent Set Up." The Permanent set-up must then be commissioned to ensure that all parts are operating as planned before being handed over to the new owner.As with the depth and design of shafts significant variations do exist in this sequence depending on local conditions, for example in that hard Canadian Shield rocks which dominate shaft sinking.

Shaft sinking. in Canada a deep and complex shaft collar is unnecessary as the bedrock is both strong and close to surface. This reduces the amount of time typically required to establish the shaft collar.Traditionally sinking contractors would build a temporary headframe for the sinking set up, which would then be dismantled to make way for a permanent headframe. With the growth in complexity and duration of shaft sinking projects over time it has become more common to incorporate more of the permanent shaft set-up into the sinking phase. This results in a reduced overall project duration, as for example, if the.

Shaft sinking. service piping used to sink the shaft does not need to be stripped out to make way for permanent piping.With the advancements made in raise boring technology, raise borers have been used to create a pilot hole for shaft sinking, where access exists at the bottom of the new shaft, in this case the sinking phase is dedicated to enlarging this pilot hole to full diameter (a process usually called "slashing"). This methodology can be considerably faster than full face sinking as muck (waste rock) from sinking falls down the pilot hole and is handled using existing mine infrastructure off.

Shaft sinking. critical path.Drift miningEngine shaftHeadframeMan engineRaise borerSalt-concreteUnderground mining (hard rock)Underground mining (soft rock)Glossary of coal mining terminologyRepurposing old mine shafts for energy storage purposesAbandoned Mine Shafts & TunnelsTop Hat Sections.


Question: What is this plant named after?

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Shortia. Shortia is a small genus of subshrubs or perennial herbs in the family Diapensiaceae. There are five species, four in Asia and one in the Appalachian Mountains of eastern North America. They are found in mountainous areas, generally from 1000 – 2000 (m) elevation. All have restricted ranges and are generally considered rare. Three of the species, "S. galacifolia", "S. soldanelloides", and "S. uniflora" are often cultivated. The genus was by Asa Gray named after botanist Charles Wilkins Short. In Gray's diary entry for April 8, 1839, he named the genus after Charles Wilkins Short because the plant was native.

Shortia. to America in a region close to where Short lived, which was Kentucky. Short and Gray never met but they corresponded with one another frequently. Short never saw a live nor dried specimen of his namesake genus.