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Painting of USS Pennsylvania(BB-38) at The Pennsylvania State Museum in Harrisburg, PA on September-4th-2019.

USS Pennsylvania (BB-38) was the lead ship of her class of super-dreadnought battleships built for the United States Navy in the 1910s.

Part of the standard-type battleship series, the Pennsylvania-class ships were significantly larger than their predecessors, the Nevada class. Pennsylvania had an overall length of 608 feet (185 m), a beam of 97 feet (30 m) (at the waterline), and a draft of 29 feet 3 inches (8.92 m) at deep load. This was 25 feet (7.6 m) longer than the older ships. She displaced 29,158 long tons (29,626 t) at standard and 31,917 long tons (32,429 t) at deep load, over 4,000 long tons (4,060 t) more than the older ships. The ship had a metacentric height of 7.82 feet (2.38 m) at deep load.

 

The ship had four direct-drive Curtis steam turbine sets, each of which drove a propeller 12 feet 1.5 inches (3.7 m) in diameter. They were powered by twelve Babcock & Wilcox water-tube boilers. The turbines were designed to produce a total of 34,000 shaft horsepower (25,000 kW), for a designed speed of 21 knots (39 km/h; 24 mph). She was designed to normally carry 1,548 long tons (1,573 t) of fuel oil, but had a maximum capacity of 2,305 long tons (2,342 t). At full capacity, the ship could steam at a speed of 12 knots (22 km/h; 14 mph) for an estimated 7,552 nautical miles (13,990 km; 8,690 mi) with a clean bottom. She had four 300-kilowatt (402 hp) turbo generators.

  

Fitting-out deck area around forward turrets in early weeks of 1916

Pennsylvania carried twelve 45-caliber 14 in (356 mm) guns in triple gun turrets.The turrets were numbered from I to IV from front to rear. The guns could not elevate independently and were limited to a maximum elevation of +15° which gave them a maximum range of 21,000 yards (19,000 m). The ship carried 100 shells for each gun. Defense against torpedo boats was provided by twenty-two 51-caliber 5 in (127 mm) guns mounted in individual casemates in the sides of the ship's hull. Positioned as they were they proved vulnerable to sea spray and could not be worked in heavy seas.[5] At an elevation of 15°, they had a maximum range of 14,050 yards (12,850 m).Each gun was provided with 230 rounds of ammunition.The ship mounted four 50-caliber three-inch guns for anti-aircraft defense, although only two were fitted when completed. The other pair were added shortly afterward on top of Turret III.Pennsylvania also mounted two 21-inch (533 mm) torpedo tubes submerged, one on each broadside, and carried 24 torpedoes for them.

 

The Pennsylvania-class design continued the all-or-nothing principle of armoring only the most important areas of the ship begun in the Nevada class. The waterline armor belt of Krupp armor measured 13.5 inches (343 mm) thick and covered only the ship's machinery spaces and magazines. It had a total height of 17 feet 6 inches (5.3 m), of which 8 feet 9.75 inches (2.7 m) was below the waterline; beginning 2 feet 4 inches (0.7 m) below the waterline, the belt tapered to its minimum thickness of 8 inches (203 mm).The transverse bulkheads at each end of the ship ranged from 13 to 8 inches in thickness. The faces of the gun turrets were 18 inches (457 mm) thick while the sides were 9–10 inches (229–254 mm) thick and the turret roofs were protected by 5 inches (127 mm) of armor. The armor of the barbettes was 18 to 4.5 inches (457 to 114 mm) thick. The conning tower was protected by 16 inches (406 mm) of armor and had a roof eight inches thick.

 

The main armor deck was three plates thick with a total thickness of 3 inches (76 mm); over the steering gear the armor increased to 6.25 inches (159 mm) in two plates. Beneath it was the splinter deck that ranged from 1.5 to 2 inches (38 to 51 mm) in thickness.The boiler uptakes were protected by a conical mantlet that ranged from 9 to 15 inches (230 to 380 mm) in thickness.A three-inch torpedo bulkhead was placed 9 feet 6 inches (2.9 m) inboard from the ship's side and the ship was provided with a complete double bottom. Testing in mid-1914 revealed that this system could withstand 300 pounds (140 kg) of TNT.

 

The keel for Pennsylvania was laid down on 27 October 1913 at the Newport News Shipbuilding and Dry Dock Company of Newport News, Virginia. She was the Second Vessel Named for the Commonwealth of Pennsylvania. Her completed hull was launched on 16 March 1915, thereafter beginning fitting-out. Work on the ship finished in mid-1916, and she was commissioned on 12 June under the command of Captain Henry B. Wilson. The ship was assigned to the Atlantic Fleet and then completed final fitting out from 1 to 20 July. Pennsylvania then began sea trials in 20 July, steaming first to the southern drill grounds off the Virginia Capes and then north to the coast of New England. Rear Admiral Austin M. Knight and officers from the Naval War College came aboard on 21 August to observe fleet training exercises. Three days later, the ship was visited by Franklin Delano Roosevelt, then the Assistant Secretary of the Navy. FDR later became the 32nd President of the United States from 1933 to 1945(His Death).

 

Rear Admiral Henry T. Mayo transferred to Pennsylvania on 12 October, making her the flagship of the Atlantic Fleet. At the end of the year, she went into drydock at the New York Navy Yard for maintenance. After emerging from the shipyard in January 1917, she steamed south to join fleet exercises in the Caribbean Sea, during which she stopped in: Culebra, Puerto Rico; Santo Domingo, Dominican Republic; and Port-au-Prince, Haiti. While in Port-au-Prince, Pennsylvania again hosted Roosevelt, who met with the President of Haiti aboard the ship. The battleship arrived back in Yorktown, Virginia on 6 April, the same day the United States declared war on Germany, bringing the country into World War I. Since Pennsylvania was oil-fired, she did not join the ships of Battleship Division Nine, as the British had asked for coal-burning battleships to reinforce the Grand Fleet. As a result, she stayed in American waters and saw no action during the war.

 

In August, Pennsylvania took part in a naval review for President Woodrow Wilson. Foreign naval officers visited the ship in September, including the Japanese Vice Admiral Isamu Takeshita and the Russian Vice Admiral Alexander Kolchak. For the rest of the year and into 1918, Pennsylvania was kept in a state of readiness through fleet exercises and gunnery training in Chesapeake Bay and Long Island Sound. She was preparing for night battle training on 11 November 1918, when the Armistice with Germany came into effect, ending the fighting. She thereafter returned for another stint in the New York Navy Yard for maintenance that was completed on 21 November. She began the voyage to Brest, France, on 2 December by way of Tomkinsville, New York, in company with the transport ship George Washington that carried Wilson to France to take part in the peace negotiations; they were escorted by ten destroyers. The ships arrived on 13 December and the next day, Pennsylvania began the trip back to New York with Battleship Divisions Nine and Six. The battleships reached their destination on 26 December, where they took part in victory celebrations.

 

Inter-war period

1919–1924

 

Pennsylvania and the rest of the Atlantic Fleet departed on 19 February, bound for the Caribbean for another round of exercises in Cuban waters. The ship arrived back in New York on 14 April, and while there on 30 June, Mayo was replaced by Vice Admiral Henry Wilson. On 8 July at Tomkinsville, a delegation consisting of: Vice President Thomas R. Marshall; Josephus Daniels, the Secretary of the Navy; Carter Glass, the Secretary of the Treasury; William B. Wilson, the Secretary of Labor; Newton D. Baker, the Secretary of War; Franklin K. Lane, the Secretary of the Interior; and Senator Champ Clark came aboard the ship for a cruise back to New York. The fleet conducted another set of maneuvers in the Caribbean from 7 January to April 1920, Pennsylvania returning to her berth in New York on 26 April. Training exercises in the area followed, and on 17 July she received the hull number BB-38.

 

On 17 January 1921, Pennsylvania left New York, passed through the Panama Canal to Balboa, Panama, where she joined the Pacific Fleet, which together with elements of the Atlantic Fleet was re-designated as the Battle Fleet, with Pennsylvania as its flagship. On 21 January, the fleet left Balboa and steamed south to Callao, Peru, where they arrived ten days later. The ships then steamed north back to Balboa on 2 February, arriving on 14 February. Pennsylvania crossed back through the canal to take part in maneuvers off Cuba and on 28 April she arrived in Hampton Roads, Virginia, where President Warren G. Harding, Edwin Denby, the Secretary of the Navy, Theodore Roosevelt Jr., the Assistant Secretary of the Navy, and Admiral Robert Coontz, the Chief of Naval Operations (CNO), came aboard the ship. Further training was held from 12 to 21 July in the Caribbean, after which she returned to New York. On 30 July, she proceeded on to Plymouth, Massachusetts for a visit that lasted until 2 August. Anothery drydock period in New York lasted from 5 to 20 August.

 

Pennsylvania departed New York thereafter, bound for the Pacific; she passed through the Panama Canal on 30 August and remained at Balboa for two weeks. On 15 September, she resumed the voyage and steamed north to San Pedro, Los Angeles, which she reached on 26 September. The ship spent most of 1922 visiting ports along the US west coast, including San Francisco, Seattle, Port Angeles, and San Diego, and from 6 March to 19 April, she underwent a refit at the Puget Sound Navy Yard. She won the Battle Efficiency Award for the 1922 training year. She went back to Puget Sound on 18 December, and remained there into 1923. She left the shipyard on 28 January and steamed south to San Diego, where she stayed from 2 to 8 February, before continuing on to the Panama Canal. After passing through, she steamed to Culebra for a short visit. The ship then passed back through the canal and arrived back in San Pedro on 13 April. Beginning in May, she visited various ports in the area over the course of the rest of 1923, apart from a round of fleet training from 27 November to 7 December. She ended the year with another stint in Puget Sound from 22 December until 1 March 1924.

 

1924–1931

The ship arrived in San Francisco on 3 March, where she loaded ammunition before joining the Battle Fleet in San Diego on 9 March. The fleet cruised south to the Gulf of Fonseca, then continued south and passed through the Panama Canal to Limon Bay. The ships visited several ports in the Caribbean, including in the US Virgin Islands and Puerto Rico before returning to the Pacific in early April. Pennsylvania arrived back in San Pedro on 22 April, where she remained until 25 June, when she steamed north to Seattle. By this time, she was serving as the flagship of Battle Division 3 of the Battle Fleet. While in the Seattle area, she took part in training exercises with the ships of her division that lasted until 1 September. Further training exercises took place from 12 to 22 September off San Francisco. She thereafter took part in joint training with the coastal defenses around San Francisco from 26 to 29 September. The ship underwent a pair of overhauls from 1 to 13 October and 13 December to 5 January 1925. Pennsylvania then steamed to Puget Sound on 21 January for a third overhaul that lasted from 25 January to 24 March.

 

Pennsylvania returned to San Pedro on 27 March and then joined the fleet in San Francisco on 5 April. The ships then steamed to Hawaii for training exercises before departing on 1 July for a major cruise across the Pacific to Australia. They reached Melbourne on 22 July, and on 6 August Pennsylvania steamed to Wellington, New Zealand, where she stayed from 11 to 22 August. On the voyage back to the United States, they stopped in Pago Pago in American Samoa and Hawaii, before reaching San Pedro on 26 September. Pennsylvania went to San Diego for target practice from 5 to 8 October, thereafter returning to San Pedro, where she remained largely idle for the rest of 1925. She left San Pedro with the Battle Fleet on 1 February 1926 for another visit to Balboa, during which the ships conducted tactical training from 15 to 27 February. Pennsylvania spent early March in California before departing for Puget Sound on 15 March for another refit that lasted until 14 May, at which point she returned to San Pedro. Another tour of west coast ports began on 16 June and ended on 1 September back in San Pedro.

 

Pennsylvania remained at San Pedro from 11 December to 11 January 1927 when she left for another refit at Puget Sound that lasted until 12 March. She returned to San Francisco on 15 March and then moved to San Pedro the next day. She left to join training exercises off Cuba on 17 March; she passed through the canal between 29 and 31 March and arrived in Guantánamo Bay on 4 April. On 18 April, she left Cuba to visit Gonaïves, Haiti before steaming to New York, arriving there on 29 April. After touring the east coast in May, she departed for the canal, which she crossed on 12 June. She remained in Balboa until 12 June, at which point she left for San Pedro, arriving on 28 June. The ship spent the rest of 1927 with training, maintenance, and a tour of the west coast. She went to Puget Sound for a refit on 1 April 1928 that lasted until 16 May, after which she went to San Francisco. She left that same day, however, and steamed back north to visit Victoria, British Columbia. She remained there from 24 to 28 May and then returned to San Francisco. She spent June visiting various ports, and in August she embarked Dwight F. Davis, the Secretary of War, in San Francisco; she carried him to Hawaii, departing on 7 August and arriving on the 13th. Pennsylvania returned to Seattle on 26 August.

 

Another cruise to Cuba took place in January 1929, after which she went to the Philadelphia Navy Yard on 1 June for a major refit and modernization. She received a number of modifications, including increased deck and turret roof armor, anti-torpedo bulges, new turbo-generators, new turbines, and six new three-drum boilers. Her main battery turrets were modified to allow them to elevate to 30 degrees, significantly increasing the range of her guns, and her secondary battery was revised. The number of 5-inch guns was reduced to twelve, and her 3-inch anti-aircraft guns were replaced with eight 5-inch /25 guns. Her torpedo tubes were removed, as were her lattice masts, which were replaced with sturdier tripod masts. Her bridge was also enlarged to increase the space available for an admiral's staff, since she was used as a flagship. Her living space was increased to 2,037 crew and marines, and she was fitted with two catapults for seaplanes.

 

Pennsylvania returned to service on 1 March 1931 and she conducted trials in Delaware Bay in March and April. She then steamed south to Cuba on 8 May for a training cruise before returning to Philadelphia on 26 May. Another cruise to Cuba followed on 30 July; the ship arrived there on 5 August and this time she steamed across the Caribbean to the Panama Canal, which she transited on 12 August to return to the Battle Fleet. She reached San Pedro on 27 August, where she remained for the rest of the year. She toured the west coast in January 1932 and before crossing over to Pearl Harbor, where she arrived on 3 February. There, she took part in extensive fleet maneuvers as part of Fleet Problem XIII. She returned to San Pedro on 20 March, remaining there until 18 April, when she began another cruise along the coast of California. She returned to San Pedro on 14 November and remained there until the end of the year.

 

1932–1941

Pennsylvania in Pearl Harbor in 1932, with tripod masts and her enlarged bridge

The ship departed San Pedro on 9 February to participate in Fleet Problem XIV, which lasted from 10 to 17 February. She returned to San Francisco on 17 February and then went to San Pedro on 27 February, remaining there until 19 June. Another west coast cruise followed from 19 June to 14 November, and after returning to San Pedro, Pennsylvania stayed there inactive until early March 1934. From 4 to 8 March, she made a short visit to Hunters Point Naval Shipyard in San Francisco and then returned to San Pedro. From there, she went to join the fleet for Fleet Problem XV, which was held in the Caribbean this year; she passed through the canal on 24 April, the maneuvers having already started on the 19th. They lasted until 12 May, at which point Pennsylvania went to Gonaïves with the rest of the fleet, which then continued on to New York, where it arrived on 31 March. There, Pennsylvania led the fleet in a naval review for now-President Franklin D. Roosevelt. On 15 June, Admiral Joseph M. Reeves took command of the fleet aboard Pennsylvania, which was once again the fleet flagship.

 

On 18 June, Pennsylvania left New York for the Pacific, stopping in Hampton Roads on 20 June on the way. She passed through the canal on 28 June and reached San Pedro on 7 July. She then went to Puget Sound for a refit that lasted from 14 July to 2 October. The ship left the shipyard on 16 October and returned to San Francisco two days later, beginning a period of cruises off the coast of California and visits to cities in the state. She ended the year in San Pedro, remaining there or in San Francisco until 29 April 1935, when she took part in Fleet Problem XVI in the Hawaiian islands. The maneuvers lasted until 10 June, and were the largest set of exercises conducted by the US Navy at the time. The ship then returned to San Pedro on 17 June and embarked on a cruise of the west coast for several months; on 16 December, she went to Puget Sound for another overhaul that lasted from 20 December to 21 March 1936. Fleet Problem XVII followed from 27 April to 7 June, this time being held off Balboa. She returned to San Pedro on 6 June and spent the rest of the year with training exercises off the west coast and Hawaii, ending the training program for the year in San Pedro on 18 November.

The ship remained in port until 17 February, when she departed for San Clemente, California at the start of a tour along the west coast. She participated in Fleet Problem XVIII, which lasted from 16 April to 28 May. Another stint in Puget Sound began on 6 June and concluded on 3 September, when she returned to San Pedro. She spent the rest of the year alternating between there and San Francisco, seeing little activity. She made a short trip to San Francisco in February 1938 and took part in Fleet Problem XIX from 9 March to 30 April. Another period in San Pedro followed until 20 June, after which she embarked on a two-month cruise along the west coast that concluded with another stay at Puget Sound on 28 September. After concluding her repairs on 16 December, she returned to San Pedro by way of San Francisco, arriving on 22 December. Fleet Problem XX occurred earlier the year than it had in previous iterations, taking place from 20 to 27 February 1939 in Cuban waters. During the exercises, Franklin Roosevelt and Admiral William D. Leahy, the CNO, came aboard Pennsylvania to observe the maneuvers.

 

The ship then went to Culebra on 27 February, departing on 4 March to visit Port-au-Prince, Haiti from 6 to 11 March. A stay in Guantanamo Bay followed from 12 to 31 March, after which she went to visit the US Naval Academy in Annapolis on 5 April. Pennsylvania began the voyage back to the Pacific on 18 April and passed through the canal at the end of the month, ultimately arriving back in San Pedro on 12 May. Another tour of the west coast followed, which included stops in San Francisco, Tacoma, and Seattle, and ended in San Pedro on 20 October. She went to Hawaii to participate in Fleet Problem XXI on 2 April 1940. The exercises lasted until 17 May, after which the ship remained in Hawaii until 1 September, when she left for San Pedro. The battleship then went to Puget Sound on 12 September that lasted until 27 December;[11] during the overhaul, she received another four 5-inch /25 guns. She returned to San Pedro on 31 December. Fleet Problem XXII was scheduled for January 1941, but the widening of World War II by this time led the naval command to cancel the exercises. On 7 January, Pennsylvania steamed to Hawaii as part of what was again the Pacific Fleet, based at Pearl Harbor. Over the course of the year, she operated out of Pearl Harbor and made a short voyage to the west coast of the United States from 12 September to 11 October.

 

On the morning of 7 December, Pennsylvania was in Dry Dock No. 1 in Pearl Harbor undergoing a refit; three of her four screws were removed. The destroyers Cassin and Downes were also in the dock with her. When it became clear that the port was under air attack from the Japanese fleet, Pennsylvania's crew rushed to their battle stations, and between 08:02 and 08:05, her anti-aircraft gunners began engaging the hostile aircraft. Japanese torpedo bombers unsuccessfully attempted to torpedo the side of the drydock to flood it; having failed, several aircraft then strafed Pennsylvania. At 08:30, several high-altitude bombers began a series of attacks on the ship; over the course of the following fifteen minutes, five aircraft attempted to hit her from different directions. One of the Japanese bombers hit Downes and one scored a hit on Pennsylvania that passed through the boat deck and exploded in casemate No. 9. Pennsylvania's anti-aircraft gunners fired at all of these aircraft but failed to hit any of them, apparently owing to incorrect fuse settings that caused the shells to explode before they reached the correct altitude. The gunners did manage to shoot down a low-flying aircraft that attempted to strafe the ship; they claimed to have shot down another five aircraft, but the after-action investigation noted that only two aircraft were likely hit by Pennsylvania's guns.

 

By 09:20, both destroyers were on fire from bomb hits and the fire had spread to Pennsylvania, so the drydock was flooded to help contain the fire. Ten minutes later, the destroyers began to explode as the fires spread to ammunition magazines, and at 09:41, Downes was shattered by an explosion that scattered parts of the ship around the area. One of her torpedo tubes, weighing 500 to 1,000 pounds (230 to 450 kg), was launched into the air, striking Pennsylvania's forecastle. As part of her crew battled the fire in her bow, other men used the ship's boats to ferry anti-aircraft ammunition from stores in the West Loch of Pearl Harbor. Beginning at 14:00, the crew began preparatory work to repair the bomb damage; a 5-inch /25 gun and a 5-inch /51 casemate gun were taken from the damaged battleship West Virginia to replace weapons damaged aboard Pennsylvania.[11] In the course of the attack, Pennsylvania had 15 men killed (including her executive officer), 14 missing, and 38 wounded.[12] On 12 December, Pennsylvania was refloated and taken out of the drydock; having been only lightly damaged in the attack, she was ready to go to sea. She departed Pearl Harbor on 20 December and arrived in San Francisco nine days later. She went into drydock at Hunter's Point on 1 January 1942 for repairs that were completed on 12 January.[11]

 

The ship left San Francisco on 20 February and began gunnery training before returning to San Francisco the next day. Further training followed in March, and from 14 April to 1 August, she took part in extensive maneuvers off the coast of California; during this period, she underwent an overhaul at the Mare Island Naval Shipyard in San Francisco. The work involved considerably strengthening the ship's anti-aircraft capabilities, with ten Bofors 40 mm quad mounts and fifty-one Oerlikon 20 mm single mounts. The tripod mainmast was removed, with the stump replaced by a deckhouse above which the aft main battery director cupola was housed. One of the new CXAM-1 radars was installed above the cupola. The older 5-inch /51 cal anti-ship guns in casemates and 5-inch /25 cal anti-aircraft guns were replaced with rapid fire 5-inch /38 cal guns in eight twin turret mounts. The new 5"/38 cal dual purpose guns could elevate to 85 degrees and fire at a rate of one round every four seconds.[3] The ship briefly went to sea during the Battle of Midway as part of Task Force 1, commanded by Vice Admiral William S. Pye, but the ships did not see action during the operation.

 

Aleutians and Makin Atoll

 

On 1 August, Pennsylvania left San Francisco, bound for Pearl Harbor. She arrived there on 14 August and took part in further training, including guard tactics for aircraft carrier task forces. Another overhaul followed in San Francisco from 3 to 10 January 1943. After further training and tests at San Francisco and Long Beach that lasted into April, she departed to join the Aleutian Islands Campaign on 23 April. She bombarded Holtz Bay and Chichagof Harbor on 11–12 May to support the forces that went ashore on the island of Attu. While she was leaving the area on the 12th, the Japanese submarine I-31 launched a torpedo at the ship, which was observed by a patrolling PBY Catalina flying boat. The Catalina radioed Pennsylvania, which took evasive maneuvers and escaped unharmed; a pair of destroyers then spent the next ten hours hunting the submarine before severely damaging her and forcing her to surface. I-31 was later sunk by another destroyer the next day.

 

Pennsylvania returned to Holtz Bay on 14 May to conduct another bombardment in support of an infantry attack on the western side of the bay. She continued operations in the area until 19 May, when she steamed to Adak Island for another amphibious assault. While en route, one of her gasoline stowage compartments exploded, which caused structural damage, though no one was injured in the accident. She was forced to leave Adak on 21 May for repairs at Puget Sound that lasted from 31 May to 15 June; during the overhaul, another accidental explosion killed one man and injured a second. She left port on 1 August, bound for Adak, which she reached on 7 August. There, she became the flagship of Admiral Francis W. Rockwell, commander of the task force that was to attack Kiska. The troops went ashore on 15 August but met no resistance, the Japanese having evacuated without US forces in the area having becoming aware of it. Pennsylvania patrolled off Kiska for several days before returning to Adak on 23 August.

 

Two days later, the battleship departed Adak for Pearl Harbor, arriving there on 1 September. She embarked a contingent of 790 passengers before steaming on 19 September, bound for San Francisco. She arrived there six days later and debarked her passengers before returning to Pearl Harbor on 6 October to take part in bombardment training from 20 to 23 October and 31 October – 4 November. Now the flagship of Rear Admiral Richmond K. Turner, the commander of the Fifth Amphibious Force, itself part of the Northern Attack Force, Pennsylvania left Pearl Harbor on 10 November to lead the assault on Makin Atoll, part of the Gilbert Islands. She was joined by three other battleships, four cruisers, three escort carriers, and numerous transports and destroyers; they arrived off Makin on 20 November, and Pennsylvania opened fire on Butaritari Island that morning at a range of 14,200 yards (13,000 m), beginning the Battle of Makin. Early on the morning of 24 November, the ship was rocked by an explosion off her starboard bow; lookouts reported that the escort carrier Liscome Bay had been torpedoed and had exploded. Japanese torpedo bombers conducted repeated nighttime attacks on 25 and 26 November, but they failed to score any hits on the American fleet. Pennsylvania left the area on 30 November to return to Pearl Harbor.

 

Marshalls and Marianas campaigns

 

At the start of 1944, Pennsylvania was at Pearl Harbor; over the course of the first two weeks of January, she took part in maneuvers in preparation for landings on Kwajalein in the Marshall Islands. She departed Pearl Harbor on 22 January in company with the invasion fleet, and on 31 January she began her preparatory bombardment of the atoll to start the Battle of Kwajalein. Troops went ashore the next day, and Pennsylvania remained offshore to provide artillery support to the marines as they fought to secure the island. By the evening of 3 February, the Japanese defenders had been defeated, allowing the ship to depart to Majuro Atoll to replenish her ammunition supply. She left shortly thereafter, on 12 February, to support the next major attack on Eniwetok in the Marshalls; five days later she arrived off the island, the Battle of Eniwetok already underway, and over the course of 20 and 21 February, she shelled the island heavily to support the men fighting ashore. On 22 February, she supported the landing on Parry Island, part of the Eniwetok atoll.

 

On 1 March, Pennsylvania steamed back to Majuro before proceeding south to Havannah Harbor on Efate Island in the New Hebrides. She remained there until 24 April, when she left for a short visit to Sydney, Australia from 29 April to 11 May, when she returned to Efate. She thereafter steamed to Port Purvis on Florida Island, in the Solomons, to participate in amphibious assault exercises. After replenishing ammunition and supplies at Efate, she left on 2 June, bound for Roi, arriving there six days later. On 10 June, she joined a force of battleships, cruisers, escort carriers, and destroyers that had assembled for the Marianas campaign. While en route that night, one of the escorting destroyers reported a sonar contact and the ships of the fleet took evasive maneuvers; in the darkness, Pennsylvania accidentally collided with the troop transport Talbot. Pennsylvania incurred only minor damage and was able to continue with the fleet, but Talbot had to return to Eniwetok for emergency repairs.

 

Pennsylvania began her bombardment of Saipan on 14 June to prepare the island for the assault that came the next day. She continued shelling the island while cruising off Tinian on 15 June as the assault craft went ashore. On 16 June, she attacked Japanese positions at Orote Point on Guam before returning to Saipan. She left the area on 25 June to replenish at Eniwetok, returning to join the preparatory bombardment of Guam on 12 July. The shelling continued for two days, and late on 14 July, she steamed to Saipan to again replenish her ammunition. Back on station three days later, she continued to blast the island through 20 July. This work also included suppressing guns that fired on demolition parties that went ashore to destroy landing obstacles. On the morning of 21 July, Pennsylvania took up her bombardment position off Orote Point as the assault craft prepared to launch their attack. The ship operated off the island supporting the men fighting there for the next two weeks.

 

Operations in the Philippines

Pennsylvania left Guam on 3 August to replenish at Eniwetok, arriving there on 19 August. From there, she steamed to Espiritu Santo in the New Hebrides before joining landing training off Guadalcanal. The ship left on 6 September as part of the Bombardment and Fire Support Group for the invasion of Peleliu. She bombarded the island from 12 to 14 September and supported the landings the next day. She shelled Anguar Island on 17 September and remained there for three days, departing on 20 September. She then steamed to Seeadler Harbor on Manus, one of the Admiralty Islands for repairs. On 28 September, she arrived there and entered a floating dry dock on 1 October for a week's repairs. Pennsylvania left on 12 October in company with the battleships Mississippi, Tennessee, California, Maryland, and West Virginia, under the command of Rear Admiral Jesse B. Oldendorf. These ships, designated Task Group 77.2, formed the Fire Support Group for the upcoming operations in the Philippines. They arrived off Leyte on 18 October and took up bombardment positions; over the next four days, they covered Underwater Demolition Teams, beach reconnaissance operations, and minesweepers clearing the way for the landing force.

 

On 24 October, reports of Japanese naval forces approaching the area led Oldendorf's ships to prepare for action at the exit of the Surigao Strait.Vice Admiral Shōji Nishimura's Southern Force steamed through the Surigao Strait to attack the invasion fleet in Leyte Gulf; his force comprised Battleship Division 2—the battleships Yamashiro and Fusō, the heavy cruiser Mogami, and four destroyers—and Vice Admiral Kiyohide Shima's Second Striking Force—the heavy cruisers Nachi and Ashigara, the light cruiser Abukuma, and four more destroyers. As Nishimura's flotilla passed through the strait on the night of 24 October, they came under attack from American PT boats, followed by destroyers, initiating the Battle of Surigao Strait. One of these destroyers torpedoed Fusō and disabled her, though Nishimura continued on toward his objective.

 

In the early hours of 25 October, the Southern Force came into contact with Oldendorf's battleships, which had positioned themselves to cross Nishimura's T. At 03:53, West Virginia opened fire, followed by some of the other battleships, though Pennsylvania had trouble locating a target in the darkness with her search radar. Her older Mark 3 radar was not as effective as the more modern sets on West Virginia and some of the other battleships. Task Group 77.2's battleships effectively annihilated Battleship Division 2; Shima's Second Striking Force had fallen behind and had not yet entered the fray. Yamashiro was set on fire and then exploded; she turned to flee, covered by a salvo of torpedoes from the burning Mogami, but the American battleships were able to evade them without damage. Despite having disengaged from Oldendorf's battleships, Yamashiro was hit by more torpedoes and capsized and sank around 04:20. Shima's ships passed the still-floating Fusō and realized that Nishimura had entered a trap, so he reversed course to flee; in the confusion, his flagship Nachi collided with Mogami, damaging her and slowing her to be attacked by American light forces. She was later sunk, as were three of the four destroyers. Later on 25 October, Pennsylvania's anti-aircraft gunners helped to shoot down four aircraft that attacked a nearby destroyer.

  

Late on 28 October, Pennsylvania shot down a torpedo bomber. The ship remained on station off Leyte until 25 November, when she departed for Manus, from which she steamed to Kossol Roads off Palau on 15 December to refill her magazines. She conducted gunnery training on 22 December, and on 1 January 1945, Pennsylvania re-joined Oldendorf's Fire Support Group on the way to Lingayen Gulf for the next major operation in the Philippines. Over the course of 4–5 January, Japanese aircraft repeatedly attacked the ships, including kamikazes that destroyed the escort carrier Ommaney Bay. Pennsylvania began bombarding Japanese positions on Santiago Island at the entrance to Lingayen Gulf on 6 January before entering the gulf that night to suppress Japanese guns while minesweepers cleared the area. The next morning, the rest of Oldendorf's ships joined her in the gulf to begin the main preparatory bombardment, which continued through the 8th. On 9 January, the amphibious assault began as troops from the Sixth United States Army went ashore.

 

Japanese aircraft struck the invasion fleet on 10 January, and four bombs landed close to Pennsylvania, though she was undamaged. Later that day, a fire control party directed Pennsylvania to shell a group of Japanese tanks that were massing to launch a counterattack on the beachhead. The ship patrolled outside the gulf from 10 to 17 January, when she returned to the gulf; she saw no further action, however, and she departed on 10 February for maintenance at Manus. From there, she left on 22 February for San Francisco, stopping in the Marshalls and at Pearl Harbor on the way. After arriving on 13 March, she underwent a thorough overhaul, including the replacement of her worn-out main battery and secondary guns. She also received more modern radar and fire control equipment and additional close-range anti-aircraft guns. With the work done, she went on sea trials off San Francisco, followed by training at San Diego. She left San Francisco on 12 July and arrived in Pearl Harbor on the 18th, where she engaged in further training from 20 to 23 July. The next day, she departed to join the invasion fleet off Okinawa.

 

While transiting the Pacific, she stopped to bombard Wake Island on 1 August. In the artillery duel with Japanese coastal guns, one of their shells detonated close enough that fragments disabled one of the ship's fire control directors for her 5-inch guns. One of her Curtiss SC Seahawks was damaged in heavy seas, and the destroyer Ordronaux recovered the pilot. Pennsylvania loaded ammunition at Saipan before continuing on to Okinawa, arriving there on 12 August where she became flagship of Task Force 95. That night, while moored next to Tennessee in Buckner Bay, a Japanese torpedo bomber managed to penetrate the Allied defensive screen undetected; the aircraft launched its torpedo at Pennsylvania and hit her aft, causing serious damage. The torpedo opened a hole approximately 30 ft (9.1 m) in diameter, causing the ship to take on a considerable amount of water and begin to settle by the stern. Damage control teams were able to contain the flooding. Twenty men were killed and another ten were injured in the attack, including Oldendorf, who was aboard at the time. Pennsylvania was the last major US warship to be damaged in the war. The next day, salvage tugs towed her to shallow water where temporary repairs could be effected. On 15 August, the Japanese surrendered, ending the war.

 

Pennsylvania Received 8 Battle Stars via the Asiatic Pacific Campaign Metal and the Navy Unit Commendation for WWII Service.

 

Pennsylvania was taken under tow by a pair of tugboats on 18 August, bound for Apra Harbor, Guam, where they arrived on 6 September. The next day, she was taken into a floating drydock, where a large steel patch was welded over the torpedo hole, which would allow the ship to make the voyage back for permanent repairs. The battleship Missouri relieved Pennsylvania as flagship on 15 September, and on 2 October, she was able to leave the drydock. Two days later, Pennsylvania steamed out of Guam, bound for Puget Sound, where repairs would be effected. She was escorted by the light cruiser Atlanta and the destroyer Walke. While still en route on 17 October, the ship's number 3 propeller shaft slipped aft. Divers were sent to cut the shaft loose; Pennsylvania now had just one operational screw, and the open propeller shaft was now allowing water to leak into the hull. She nevertheless completed the voyage to Puget Sound, arriving on 24 October. The ship received the Navy Unit Commendation for her wartime service there on 3 November.

 

On 16 January 1946, Pennsylvania was designated to be expended as a target ship for the Operation Crossroads atomic bomb tests at Bikini Atoll to be carried out later that year. Repairs were completed enough to allow her to sail to the Marshall Islands, and she left Puget Sound on 24 February. After stopping in Pearl Harbor, she arrived in Bikini Atoll on 31 May, where she was anchored along with another eighty-three warships. The first explosion, Test Able, took place on 1 July, and was an air burst. After tests determined that the ship had not been contaminated with radiation, the crew returned to the ship from 3 to 24 July. The second blast, Test Baker, was done the next day. This was an underwater detonation, and Pennsylvania was moored just 1,100 yards (1,000 m) from ground zero. She was only lightly damaged from the blast, but the surge of water caused significant radioactive contamination; work parties came aboard the ship from 17 to 21 August to prepare the ship to be towed, and on the 21st she was taken under tow by the transport Niagara, which took her to Kwajalein, where she was decommissioned on 29 August. Various radiological and structural studies were completed over the next year and a half until she was scuttled off Kwajalein on 10 February 1948. She was officially stricken from the Naval Vessel Register on 19 February.

  

The ship's bell is on display at The Pennsylvania State University near the main entrance of the Wagner Building, home of the university's ROTC programs. It has been on permanent loan to the university from the Department of the Navy since 1955. Two of the ship's 14-inch guns that had been replaced during the 1945 overhaul are on outdoor display at the Pennsylvania Military Museum in Boalsburg, Pennsylvania.

   

The typical 'parai' is a frame drum about 35 centimeters in diameter. It consists of a shallow ring of wood, covered on one side with a stretched cow hide that is glued to the wooden frame. Though the pic doesn't look even a bit like the description, this drum is also parai!!

 

In Tamil, the word 'parai' means to 'speak' or to 'tell'. Local histories describe the parai as an ancient instrument performed in the courts of Sangam, Chola, and Pandiyan rulers. The drums were used to announce important messages and orders of the great Tamil Kings.

 

Today the parai folk drum is associated with Dalit communities (formerly known as untouchables). Dalits are the lowest ranking members of the Hindu social order, outside the four classes of Brahmins, Kshatriyas, Vaishyas, and Shudras. The two best-known Dalit drumming castes are the Paraiyars (named after the parai drum) and the Telugu speaking Cakkiliyars. In addition to performing music at their own temple festivals and religious celebrations, Dalits for the last several centuries have provided inauspicious ritual services for higher castes, most notable drumming for funerals. Because of its association with death, Dalit drummers and the parai drum are considered both impure and degraded by upper castes. In recent years, some Dalit communities have reclaimed the parai with pride to become a symbol of Dalit cultural identity and social freedom.

 

As an aural tradition, parai folk drumming does not have a codified system of written notation. Musicians learn through years of unconscious absorption, conscious listening, imitation, and practice. Drumming is also learned through the recitation of spoken syllables reminiscent of solkattu in Carnatic music . Each rhythm has a corresponding set of syllables. However, the correspondence of strokes to syllables is not absolutely fixed. A drummer's choice of syllables depends upon the specific combination or permutation of drum strokes, the speed at which they are played, and his own personal aesthetic and lineage. Unlike the Carnatic system, rhythmic syllables in the parai tradition are not recited in relationship to a tala cycle designated by prescribed hand gestures.

Cedrus libani is an evergreen coniferous tree growing up to 40 m (130 ft) tall, with a trunk up to 2.5 m (8 ft 2 in) in diameter. The crown is conic when young, becoming broadly tabular with age with fairly level branches.

 

The shoots are dimorphic, with long shoots and short shoots. The leaves are needle-like, spaced out on the long shoots, and in clusters of 15-45 on the short shoots; they are 5–30 mm (1⁄4–1 3⁄16 in) in length, quadrangular in cross-section, and vary from green to glaucous blue-green with stomatal bands on all four sides. The seed cones are produced often every second year, and mature in 12 months from pollination; mature cones in late autumn are 8–12 cm (3–4 3⁄4 in) long and 4–6 cm (1 1⁄2–2 3⁄8 in) wide.

 

Over the centuries, extensive deforestation has occurred, with only small remnants of the original forests surviving. Deforestation has been particularly severe in Lebanon and on Cyprus; on Cyprus, only small trees up to 25 m (82 ft) tall survive, though Pliny the Elder recorded cedars 40 m (130 ft) tall there.[15] Extensive reforestation of cedar is carried out in the Mediterranean region, particularly Turkey, where over 50 million young cedars are being planted annually.[16] The Lebanese populations are also now expanding through a combination of replanting and protection of natural regeneration from browsing by goats, hunting, forest fires, and woodworms.[17]

 

Historically, there were various attempts at conserving the Lebanon Cedars. The first was made by the Roman Emperor Hadrian, who issued a decree protecting parts of the Cedars of Lebanon in CE 118. In the Middle Ages, the Mamluk Caliphs also made an attempt at conserving the Cedars and regulating their use, followed by the Maronite Patriarch Yusuf Hbaych, who placed them under his protection in 1832. In 1876, Queen Victoria financed a wall to protect the Cedars of God (near Bsharri) from the ravages of goat herding.

 

The Lebanon Cedar is prized for its versatility. In addition to being attractive, fragrant and commercially valuable, the tree has a number of medicinal uses.

 

The Cedar's oils are known to help with the following ailments:

 

Arthritic joints

Poor circulation

Cuts and scrapes

Rashes

Abdominal pain

Diarrhea

 

Ancient Lebanese also used the tree's oils to increase immune cell production. In addition, many believe the tannins and flavonoids found in the tree's wood are able to cure warts and other skin problems.

 

This photo shows the tree rings before drilling (to fit the ivy), oiling or varnishing; the diameter is only 9cm.

 

Ireland was once covered in forest, from head to toe and side to side, with oak or pine predominating at different times and places though other trees were present. Colonisation was largely to blame for the disappearance of these, and by around the 17th century Ireland became the country in Europe the most denuded of forestry.

 

It can be argued that there are no ancient forests left – even the forests of Killarney are 19th century constructs. So the sense of living continuity with the ancient past has been lost in Ireland in relation to the arboreal world. What does survive is the amazing, very evocative but very dead, world of bog wood, hidden away in bog and wetland, sometimes unearthed in the modern era by drainage, erosion or (less now) by turf cutting.

 

This piece, constructed of a bog pine stump which must be several thousand years old and dating back to when Ireland was covered in trees, with a piece of modern ivy added, is a lament for that loss. And much modern forest in Ireland is very ordered monocultural pine so we haven’t even begun to replace what was lost.

 

‘Anthropomorphism rules’, anthropomorphism being the attribution of human characteristics to other animals or inanimate objects. Hence a ‘ghost’ tree which is a human concept. And I will also say this sapling, of which the stump and some roots survive here, had a struggle to live and grow, perhaps situated in gravel or partly on stone, perhaps the weather also did not treat it kindly. Where the trunk is cut it is only 9cm in diameter.

 

I had to get a strong magnifying glass to try to work out the number of tree rings (= the number of years it grew). With a maximum radius of only 45mm, the rings are so small it is difficult to count and I am not an expert in tree ring counting when it comes to the outer part or the center where growth started; however I reckon on 45 rings/years plus possibly some more; you can try counting the rings. So the tree rings grew not more than 1mm a year on average in radius. This Scots Pine had hard times.

 

Continuing the anthropomorphism, I will say it is perhaps poetic justice that this sapling – you could hardly call it a tree - which struggled to grow in life should end up being selected to make a piece lamenting the demise of the forests of Ireland.

 

While the piece has been deliberately left as natural a shape as possible and I decided against adding any ornamentation, you can still see ‘things’ in it if you look. One possible perception is of a reclining body to the right.

 

I have seen different stands of exposed bog pine trees, and photos of more. But this piece is partly inspired by a stand of bog pine on Clare Island, Co Mayo, see www.flickr.com/photos/boggerwood/42293683382/in/dateposted/

I found this particularly atmospheric, perhaps because of its island setting, or because I could imagine wandering in that forest thousands of years ago. Being given a piece of stripped ivy by friends put me in the mind of using it with the bog pine.

 

Co Mayo bog pine with modern ivy. Length 98cm, height 82cm though the pine itself is only 23cm high. The bog pine was oiled where I worked on it and where the surface needed to be removed, due to dirt or decay; it has not been oiled where the wood was exposed and ‘good’, having the characteristic silver-grey coating bog pine gets in this situation – those parts have been left exactly as they were. All the pine and ivy have been coated with a water based varnish, satin finish.

  

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Vendor: Creative Wall Clock

Type:

Price: 39.90

 

Type:Wall Clocks;Style:Modern;Model Number:MZGZ-005;Material:Bamboo & Wooden;Motivity Type:Quartz;Display Type:Needle;Length:300 mm;Diameter:30 cm;Pattern:Abstract;Applicable Placement:Living Room;Feature:Antique Style;Combination:Separates;Shape:Geometric;Brand Name:The Vinyl Clock;Width:30 cm;Form:Single Face;Body Material:Wood;Body Material:Wood;Wall Clock Type:Wood;

 

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Time sweetly flies when you're watching it pass on this nature-inspired clock. Combines the geometric beauty of honeycomb with the human innovation of laser-cutting technology. The delicate, hexagonal lattice is created by precision-cutting decorative plywood

 

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Size -30cm (12") x 30 cm (12")

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Clock colour - natural wood

 

Please keep in your mind that wood is a natural material and therefore all wooden clocks are little bit different in color and wood pattern; each clock is a unique piece of wood.

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Vendor: Creative Wall Clock

Type:

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Type:Wall Clocks;Pattern:Abstract;Width:30 cm;Model Number:MZGZ-002;Form:Single Face;Feature:Antique Style;Material:Bamboo & Wooden;Shape:Geometric;Display Type:Needle;Combination:Separates;Motivity Type:Quartz;Applicable Placement:Living Room;Style:Modern;Brand Name:The Vinyl Clock;Length:275 mm;Diameter:30 cm;Wall Clock Type:Wood;Body Material:Wood;Body Material:Wood;

 

Honeycomb Wall Clock

   

Time sweetly flies when you're watching it pass on this nature-inspired clock. Combines the geometric beauty of honeycomb with the human innovation of laser-cutting technology. The delicate, hexagonal lattice is created by precision-cutting decorative plywood

 

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Size -30cm (12") x 27 cm (10 5/8")

Thickness - 5 mm (1/5 ")

Clock colour - natural wood

 

Please keep in your mind that wood is a natural material and therefore all wooden clocks are little bit different in color and wood pattern; each clock is a unique piece of wood.

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High Roller is a 550-foot tall (167.6 m), 520-foot (158.5 m) diameter giant Ferris wheel on the Las Vegas Strip in Paradise, Nevada, US.

 

It opened to the public on March 31, 2014, and is the world's tallest Ferris wheel. It is 9 ft (2.7 m) taller than its predecessor, the 541-foot (165 m) Singapore Flyer, which held the record since it opened in 2008.

 

High Roller was announced in August 2011 as the centerpiece of Caesars Entertainment Corporation's $550 million The LINQ. Arup Engineering, which previously consulted on the Singapore Flyer, acted as the structural engineer.

 

The wheel rotates on a pair of custom-designed spherical roller bearings, each weighing approximately 19,400 lb (8,800 kg). Each bearing has an outer diameter of 7.55 feet (2.30 m), an inner bore of 5.25 feet (1.60 m), and a width of 2.07 feet (0.63 m).

 

The outer rim comprises 28 sections, each 56 feet (17 m) long, which were temporarily held in place during construction by a pair of 275-foot (84 m) radial struts, prior to being permanently secured by four cables.

The passenger cabins (or capsules) are mounted on the wheel's outboard rim and are individually rotated by electric motors to smoothly maintain a horizontal cabin floor throughout each full rotation. Preliminary designs anticipated 32 passenger cabins, each with a 40 passenger capacity—with the final design accommodating 28 40-person cabins and a total capacity of 1,120 passengers.

 

Each 225-square-foot (20.9 m2) cabin weighs approximately 44,000 pounds (20,000 kg), has a diameter of 22 feet (6.7 m), includes 300 square feet (28 m2) of glass, and is equipped with eight flat-screen televisions and an iPod dock.

 

At night the wheel is illuminated by a 2,000-LED system which can display a single solid color, differently colored sections, multiple colors moving around the rim, and custom displays for special events and holidays.

 

en.wikipedia.org/wiki/High_Roller_(Ferris_wheel)

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

 

Today, the William Mulholland Memorial Fountain serves as a not-quite-legal wading pool for children and a photogenic backdrop for wedding parties. Motorists see it as they whiz past the entrance to Griffith Park at Los Feliz Boulevard and Riverside Drive. But few stop and walk around its 90-foot-diameter reflection pool, or know much about the man it honors.

 

Water appropriately shoots up from this memorial to William Mulholland, the man who built a concrete and steel river through the Mojave Desert and brought water to L.A.'s doorstep. August 1 will mark the anniversary of the memorial's dedication.

 

Growth--explosive and unending--was the fondest wish of many local businesspeople, land owners and other civic leaders in Mulholland's time. They realized by the 1890s that water--which until then had come exclusively from the Los Angeles River and local wells--limited further development.

 

Mulholland: The Man and His Work

 

Mulholland, an Irish immigrant, was a self-taught engineer who became head of the city's Bureau of Water Works and Supply. He supported the plan of another local visionary, Fred Eaton, to redirect water from the Owens Valley, on the eastern slope of the Sierras. Employing 5,000 workers and 6,000 mules, Mulholland completed the 238-mile-long aquaduct in record time and under budget.

 

The aquaduct, Mulholland estimated, would allow Los Angeles to grow from a quarter million people to 3 million.

 

There are no fountains honoring Mulholland in the Owens Valley, however. For several years in the 1920s, the Owens Valley and Los Angeles were locked in a bitter water war that occasionally spilled beyond the editorial pages and courtrooms. Mulholland hired armed guards to patrol the aquaduct. Even so, it was dynamited numerous times.

 

As recently as September 1976, the aquaduct was damaged by saboteurs after the Department of Water and Power announced plans to double its pumping of subsurface water from the Owens Valley. Shortly afterward, an arrow carrying a stick of dynamite and two blasting caps was shot at the Mulholland Memorial Fountain. No one was hurt and the dynamite did not explode. Ironically for the saboteur, the explosive-laden arrow landed in the water.

 

A Sentimental Dedication

 

But on Aug. 1, 1940, a warm Thursday evening, the water wars of the 1920s seemed safely in the past. Mulholland, who died in 1935, had outlived most of the controversy his career had generated. And the city had a grand new fountain to dedicate in his honor.

 

Approximately 3,000 people spilled across Los Feliz Boulevard, some standing on the adjacent hill in Griffith Park. The Los Angeles Police Band played. The Civic Chorus sang. The Aquaduct Post Color Guard presented the flag. Mayor Fletcher Bowron accepted the fountain on behalf of the city, predicting that "as the crystal pureness of the water . . . radiates brilliantly in the sun . . . or shimmers in the colors of myriad electric lights," the fountain would help to develop "a greater civic pride, a more developed civic consciousness."

 

Mulholland's granddaughter, Katherine Mulholland, was 17 years old at the time. She remembers her sister, Patricia, then nine years old, pushing a button to start the fountain. "That was quite dramatic," she said.

 

An Appropriate Site Alongside Griffith Park

 

The site was chosen for several reasons. It was located at one of the city's busiest and prettiest intersections. Furthermore, Mulholland had once lived there in a one-room wooden shack. The man who would build one of the world's great water projects was first employed by the water department as a ditch tender. His job was to keep the "zanja madre"--the city's main water ditch--clear of weeds and debris.

 

Although a committee comprised of the city's elite oversaw construction of the fountain--and provided most of the funds for it--there was also considerable popular support. Many DWP employees made contributions through payroll deductions. Even school children were asked to donate (including Katherine Mulholland's classmates, which she found a little embarrassing at the time) to the $30,000 project.

 

Over the next several decades, the fountain became a symbol of abundance--the good life, Los Angeles-style. Through a complex maze of timers and jets, the fountain--which operated between 7 a.m. and 11 p.m.--continually changed its shape, a water sculpture in motion.

 

Color added to the spectacle. Lights played upon the water in ever-varying combinations. Commented newsman Ralph Story in a segment about the fountain on "Ralph Story's Los Angeles" that first aired on KNXT (Now KCBS, Channel 2) on Oct. 6, 1968, "The panel of relays, gears and vertical camshafts . . . produces not only light, but changing light . . . sending the fountain through the entire spectrum of color in a smooth continuous pattern."

 

The 'Kool Aid' Fountain

 

Some say these lights made the water look like Kool Aid. A colorized post card of the fountain from the 1940s shows it at night and accentuates the Kool Aid effect. "The idea of colored lights was very much an idea of its place and time," Katherine Mulholland said. "It was Hollywood, after all."

 

But not all of the fountain's special effects were planned by the DWP. Glendale College Professor of Dance Lynn McMurrey grew up about a mile from the fountain. He remembers one particular Halloween:

 

We went down there trick or treating. Somebody filled the fountain with soap. When I came down there, Riverside Drive was covered with suds. The fountain was still splashing and the suds were up to the top of it. With the light shining on the soap suds it looked like somebody's fantasy.

 

The energy crisis of 1973-74 was grim for millions of Americans who waited in long lines and paid record prices for gasoline. But it was grimmer for the fountain. For a while, it was shut down. And for a long while after that, the water was turned on, but the lights weren't.

 

Today, the problem is aging equipment. The water no longer goes through a continuous cycle of patterns. No colored lights play on it at night. And sometimes it is simply, unceremoniously shut off.

 

"The tiles are in very bad shape," said Kuno Lill, a maintenance engineer with the DWP. He said that the fountain's water purification system, its electrical system and much of its underground plumbing will have to be replaced. Budget problems have deferred much of its maintenance.

 

He said the fountain is scheduled for overhaul and rebuilding within the next two years.

 

Writer's note: This article, one of an occasional series, is part of the Griffith Park History Project, an attempt to chronicle the park's long and remarkable life.

 

What memories do you have of Griffith Park? Suggestions? Questions? Criticisms?

 

Please call Mike Eberts at Glendale College 240-1000, Ext. 5352 (I have voice mail, so you can leave a message at any time.)

 

Write to, Mike Eberts, Griffith Park History Project, Glendale Community College, 1500 N. Verdugo Road, Glendale, CA 91208.

 

Text taken from

english.glendale.cc.ca.us/fountain.html

The durian (/ˈdjʊriən/) is the fruit of several tree species belonging to the genus Durio. The name 'durian' is derived from the Malay-Indonesian languages word for duri or "spike", a reference to the numerous spike protuberances of the fruit, together with the noun-building suffix -an. There are 30 recognised Durio species, at least nine of which produce edible fruit. Durio zibethinus is the only species available in the international market: other species are sold in their local regions.

 

Regarded by many people in southeast Asia as the "king of fruits", the durian is distinctive for its large size, strong odour, and formidable thorn-covered husk. The fruit can grow as large as 30 centimetres long and 15 centimetres in diameter, and it typically weighs one to three kilograms. Its shape ranges from oblong to round, the colour of its husk green to brown, and its flesh pale yellow to red, depending on the species.

 

The edible flesh emits a distinctive odour that is strong and penetrating even when the husk is intact. Some people regard the durian as having a pleasantly sweet fragrance; others find the aroma overpowering and revolting. The smell evokes reactions from deep appreciation to intense disgust, and has been described variously as rotten onions, turpentine, and raw sewage. The persistence of its odour has led to the fruit's banishment from certain hotels and public transportation in Southeast Asia.

 

The durian, native to Southeast Asia, has been known to the Western world for about 600 years. The nineteenth-century British naturalist Alfred Russel Wallace described its flesh as "a rich custard highly flavoured with almonds". The flesh can be consumed at various stages of ripeness, and it is used to flavour a wide variety of savoury and sweet edibles in Southeast Asian cuisines. The seeds can also be eaten when cooked.

 

There are hundreds of durian cultivars; many consumers express preferences for specific cultivars, which fetch higher prices in the market.

 

TAXONOMY

The genus Durio is placed by some taxonomists in the family Bombacaceae, or by others in a broadly defined Malvaceae that includes Bombacaceae, and by others in a smaller family of just seven genera Durionaceae.

 

DESCRIPTION

Durian trees are large, growing to 25–50 metres in height depending on the species. The leaves are evergreen, elliptic to oblong and 10–18 centimetres long. The flowers are produced in three to thirty clusters together on large branches and directly on the trunk with each flower having a calyx (sepals) and five (rarely four or six) petals. Durian trees have one or two flowering and fruiting periods per year, although the timing varies depending on the species, cultivars, and localities. A typical durian tree can bear fruit after four or five years. The durian fruit can hang from any branch and matures roughly three months after pollination. The fruit can grow up to 30 centimetres long and 15 centimetres (6 in) in diameter, and typically weighs one to three kilograms. Its shape ranges from oblong to round, the colour of its husk green to brown, and its flesh pale-yellow to red, depending on the species. Among the thirty known species of Durio, nine of them have been identified as producing edible fruits: D. zibethinus, D. dulcis, D. grandiflorus, D. graveolens, D. kutejensis, D. macrantha, D. oxleyanus, and D. testudinarum. There are many species for which the fruit has never been collected or properly examined, however, so other species with edible fruit may exist. The durian is somewhat similar in appearance to the jackfruit, an unrelated species.

 

The name durian comes from the Malay word duri (thorn) together with the suffix -an (for building a noun in Malay). D. zibethinus is the only species commercially cultivated on a large scale and available outside of its native region. Since this species is open-pollinated, it shows considerable diversity in fruit colour and odour, size of flesh and seed, and tree phenology. In the species name, zibethinus refers to the Indian civet, Viverra zibetha. There is disagreement regarding whether this name, bestowed by Linnaeus, refers to civets being so fond of the durian that the fruit was used as bait to entrap them, or to the durian smelling like the civet.

 

Durian flowers are large and feathery with copious nectar, and give off a heavy, sour, and buttery odour. These features are typical of flowers pollinated by certain species of bats that eat nectar and pollen. According to research conducted in Malaysia in the 1970s, durians were pollinated almost exclusively by cave fruit bats (Eonycteris spelaea); however, a 1996 study indicated two species, D. grandiflorus and D. oblongus, were pollinated by spiderhunters (Nectariniidae) and another species, D. kutejensis, was pollinated by giant honey bees and birds as well as bats.

 

CULTIVARS

Over the centuries, numerous durian cultivars, propagated by vegetative clones, have arisen in southeast Asia. They used to be grown with mixed results from seeds of trees bearing superior quality fruit, but now are propagated by layering, marcotting, or more commonly, by grafting, including bud, veneer, wedge, whip or U-grafting onto seedlings of randomly selected rootstocks. Different cultivars may be distinguished to some extent by variations in the fruit shape, such as the shape of the spines. Durian consumers express preferences for specific cultivars, which fetch higher prices in the market.

 

Most cultivars have a common name and a code number starting with "D". For example, some popular clones are Kop (D99 Thai: กบ – "frog" [kòp]), Chanee (D123, Thai: ชะนี – gibbon [tɕʰániː]), Berserah or Green Durian or Tuan Mek Hijau (D145 Thai: ทุเรียนเขียว – Green Durian [tʰúriːən kʰǐow]), Kan Yao (D158, Thai: ก้านยาว – Long Stem [kâːn jaːw]), Mon Thong (D159, Thai: หมอนทอง – Golden Pillow [mɔ̌ːn tʰɔːŋ]), Kradum Thong (Thai: กระดุมทอง – Golden Button [kràdum tʰɔːŋ]), and with no common name, D24 and D169. Each cultivar has a distinct taste and odour. More than 200 cultivars of D. zibethinus exist in Thailand.

 

Mon thong is the most commercially sought after for its thick, full-bodied creamy and mild sweet tasting flesh with relatively moderate smell emitted and smaller seeds, while Chanee is the best in terms of its resistance to infection by Phytophthora palmivora. Kan Yao is somewhat less common, but prized for its longer window of time when it is both sweet and odorless at the same time. Among all the cultivars in Thailand, five are currently in large-scale commercial cultivation: Chanee, Mon Thong, Kan Yao, Ruang, and Kradum. There are more than 100 registered cultivars since 1920's in Malaysia and up to 193 cultivar by 1992, and many superior cultivars have been identified through competitions held at the annual Malaysian Agriculture, Horticulture, and Agrotourism Show. In Vietnam, the same process has been achieved through competitions held by the Southern Fruit Research Institute. A recently popular variety is, Cat Mountain King or Musang King.

 

By 2007, Songpol Somsri, a Thai government scientist, had crossbred more than ninety varieties of durian to create Chantaburi No. 1, a cultivar without the characteristic odour. Another hybrid, Chantaburi No. 3, develops the odour about three days after the fruit is picked, which enables an odourless transport yet satisfies consumers who prefer the pungent odour. On 22 May 2012, two other cultivars from Thailand that also lack the usual odour, Long Laplae and Lin Laplae, were presented to the public by Yothin Samutkhiri, governor of Uttaradit province from where these cultivars were developed locally, while he announced the dates for the yearly durian fair of Laplae District, and the name giver to both cultivars.

 

Popular cultivars in Malaysia and Singapore (Singapore imports most of its durians from Malaysia hence the varieties are similar although there may be slight variation in the names) include "D24" which is a popular variety known for its bitter sweet taste; "XO" which has a pale color, thick flesh with a tinge of alcoholic fermentation; "Chook Kiok" (Cantonese meaning: bamboo leg) which has a distinctive yellowish core in the inner stem and "Musang King" ( Musang is the Malay word for civet cat) which is usually the priciest of all cultivars. Musang King has bright yellow flesh and is almost like a more potent or enhanced version of the D24. This particular variety should be consumed last since it tends to make other durians taste bland in comparison.

 

CULTIVATION AND AVAIBILITY

The durian is native to Brunei, Indonesia and Malaysia.[8] There is some debate as to whether the durian is native to the Philippines, particularly the Davao region in the island of Mindanao, or was introduced. The durian is grown in other areas with a similar climate; it is strictly tropical and stops growing when mean daily temperatures drop below 22 °C.

 

The centre of ecological diversity for durians is the island of Borneo, where the fruit of the edible species of Durio including D. zibethinus, D. dulcis, D. graveolens, D. kutejensis, D. oxleyanus and D. testudinarum is sold in local markets. In Brunei, D. zibethinus is not grown because consumers prefer other species such as D. graveolens, D. kutejensis and D. oxleyanus. These species are commonly distributed in Brunei, and together with other species like D. testudinarum and D. dulcis, represent rich genetic diversity.

 

Although the durian is not native to Thailand, the country is currently one of the major exporters of durians, growing 781,000 tonnes of the world's total harvest of 1,400,000 tonnes in 1999, 111,000 tonnes of which it exported to Taiwan, Hong Kong, Malaysia, Singapore and Canada. Malaysia and Indonesia follow, both producing about 265,000 tonnes each. Of this, Malaysia exported 35,000 tonnes in 1999. Chantaburi in Thailand each year holds the World Durian Festival in early May. This single province is responsible for half of the durian production of Thailand. In the Philippines, the centre of durian production is the Davao Region. The Kadayawan Festival is an annual celebration featuring the durian in Davao City. Other places where durian farms are located include Cambodia, Laos, Vietnam, Myanmar, Sri Lanka, India, the West Indies, Florida, Hawaii, Papua New Guinea, the Polynesian Islands, Madagascar, southern China (Hainan Island), northern Australia, and Singapore.

 

Durian was introduced into Australia in the early 1960s and clonal material was first introduced in 1975. Over thirty clones of D. zibethinus and six Durio species have been subsequently introduced into Australia. China is the major importer, purchasing 65,000 tonnes in 1999, followed by Singapore with 40,000 tonnes and Taiwan with 5,000 tonnes. In the same year, the United States imported 2,000 tonnes, mostly frozen, and the European Community imported 500 tonnes.

 

The durian is a seasonal fruit, unlike some other non-seasonal tropical fruits such as the papaya, which are available throughout the year. In Peninsular Malaysia and Singapore, the season for durians is typically from June to August, which coincides with that of the mangosteen. Prices of durians are relatively high as compared with other fruits. For example, in Singapore, the strong demand for high quality cultivars such as the D24, Sultan, and Mao Shan Wang has resulted in typical retail prices of between S$8 to S$15 (US$5 to US$10) per kilogram of whole fruit. With an average weight of about 1.5 kilograms, a durian fruit would therefore cost about S$12 to S$22 (US$8 to US$15). The edible portion of the fruit, known as the aril and usually referred to as the "flesh" or "pulp", only accounts for about 15–30% of the mass of the entire fruit. Many consumers in Singapore are nevertheless quite willing to spend up to around S$75 (US$50) on a single purchase of about half a dozen of the favoured fruit to be shared by family members.

 

In-season durians can be found in mainstream Japanese supermarkets, while in the West they are sold mainly by Asian markets.

 

FLAVOUR AND ODOUR

The unusual flavour and odour of the fruit have prompted many people to express diverse and passionate views ranging from deep appreciation to intense disgust. Writing in 1856, the British naturalist Alfred Russel Wallace provided a much-quoted description of the flavour of the durian:

 

The five cells are silky-white within, and are filled with a mass of firm, cream-coloured pulp, containing about three seeds each. This pulp is the edible part, and its consistence and flavour are indescribable. A rich custard highly flavoured with almonds gives the best general idea of it, but there are occasional wafts of flavour that call to mind cream-cheese, onion-sauce, sherry-wine, and other incongruous dishes. Then there is a rich glutinous smoothness in the pulp which nothing else possesses, but which adds to its delicacy. It is neither acidic nor sweet nor juicy; yet it wants neither of these qualities, for it is in itself perfect. It produces no nausea or other bad effect, and the more you eat of it the less you feel inclined to stop. In fact, to eat Durians is a new sensation worth a voyage to the East to experience. ... as producing a food of the most exquisite flavour it is unsurpassed.

 

Wallace described himself as being at first reluctant to try it because of the aroma, "but in Borneo I found a ripe fruit on the ground, and, eating it out of doors, I at once became a confirmed Durian eater." He cited one traveller from 1599: "it is of such an excellent taste that it surpasses in flavour all other fruits of the world, according to those who have tasted it." He cites another writer: "To those not used to it, it seems at first to smell like rotten onions, but immediately after they have tasted it they prefer it to all other food. The natives give it honourable titles, exalt it, and make verses on it." Despite having tried many foods that are arguably more eccentric, Andrew Zimmern, host of Bizarre Foods, was unable to finish a durian upon sampling it, due to his intolerance of its strong taste.

 

While Wallace cautions that "the smell of the ripe fruit is certainly at first disagreeable", later descriptions by westerners are more graphic. Novelist Anthony Burgess writes that eating durian is "like eating sweet raspberry blancmange in the lavatory". Chef Andrew Zimmern compares the taste to "completely rotten, mushy onions". Anthony Bourdain, a lover of durian, relates his encounter with the fruit thus: "Its taste can only be described as...indescribable, something you will either love or despise. ...Your breath will smell as if you'd been French-kissing your dead grandmother." Likewise, fellow chef Jamie Oliver has also expressed admiration for the fruit on his first sampling. Travel and food writer Richard Sterling says:

 

... its odor is best described as pig-shit, turpentine and onions, garnished with a gym sock. It can be smelled from yards away. Despite its great local popularity, the raw fruit is forbidden from some establishments such as hotels, subways and airports, including public transportation in Southeast Asia.

 

Other comparisons have been made with the civet, sewage, stale vomit, skunk spray and used surgical swabs. The wide range of descriptions for the odour of durian may have a great deal to do with the variability of durian odour itself. Durians from different species or clones can have significantly different aromas; for example, red durian (D. dulcis) has a deep caramel flavour with a turpentine odour while red-fleshed durian (D. graveolens) emits a fragrance of roasted almonds. Among the varieties of D. zibethinus, Thai varieties are sweeter in flavour and less odorous than Malay ones. The degree of ripeness has an effect on the flavour as well. Three scientific analyses of the composition of durian aroma – from 1972, 1980, and 1995 – each found a mix of volatile compounds including esters, ketones, and different sulphur compounds, with no agreement on which may be primarily responsible for the distinctive odour. People in South East Asia with frequent exposures to durian are able to easily distinguish its sweet-like ketones and esters scent from rotten or putrescine odours which are from volatile amines and fatty acids. Developmental or genetic differences in olfactory perception and mapping within the brain ( for e.g. anterior piriform cortex to the orbitofrontal cortex) could possibly explain why some individuals are unable to differentiate these smells and find this fruit noxious.

 

This strong odour can be detected half a mile away by animals, thus luring them. In addition, the fruit is extremely appetising to a variety of animals, including squirrels, mouse deer, pigs, orangutan, elephants, and even carnivorous tigers. While some of these animals eat the fruit and dispose of the seed under the parent plant, others swallow the seed with the fruit and then transport it some distance before excreting, with the seed being dispersed as a result. The thorny, armoured covering of the fruit discourages smaller animals; larger animals are more likely to transport the seeds far from the parent tree.

 

RIPENESS AND SELECTION

According to Larousse Gastronomique, the durian fruit is ready to eat when its husk begins to crack. However, the ideal stage of ripeness to be enjoyed varies from region to region in Southeast Asia and by species. Some species grow so tall that they can only be collected once they have fallen to the ground, whereas most cultivars of D. zibethinus are nearly always cut from the tree and allowed to ripen while waiting to be sold. Some people in southern Thailand prefer their durians relatively young when the clusters of fruit within the shell are still crisp in texture and mild in flavour. For some people in northern Thailand, the preference is for the fruit to be soft and aromatic. In Malaysia and Singapore, most consumers prefer the fruit to be as ripe and pungent in aroma as possible and may even risk allowing the fruit to continue ripening after its husk has already cracked open. In this state, the flesh becomes richly creamy, slightly alcoholic, the aroma pronounced and the flavour highly complex.

 

The various preferences regarding ripeness among consumers make it hard to issue general statements about choosing a "good" durian. A durian that falls off the tree continues to ripen for two to four days, but after five or six days most would consider it overripe and unpalatable. The usual advice for a durian consumer choosing a whole fruit in the market is to examine the quality of the stem or stalk which loses moisture as it ages: a big, solid stem is a sign of freshness. Reportedly, unscrupulous merchants wrap, paint, or remove the stalks altogether. Due to the popularity of Kan Yao, street vendors may sometimes sell a lesser variety with a long stem to unsuspecting customers. Another frequent piece of advice is to shake the fruit and listen for the sound of the seeds moving within, indicating the durian is very ripe and the pulp has dried out a bit.

 

HISTORY

The durian has been known and consumed in Southeast Asia since prehistoric times, but has only been known to the western world for about 600 years. The earliest native reference to durian is the several bas relief panels of 9th-century Borobudur depicting durian as one of fruit offering for Javanese king, and also as one of the fruits sold in marketplace.

 

The earliest known European reference to the durian is the record of Niccolò Da Conti, who travelled to southeastern Asia in the 15th century. Translated from the Latin in which Poggio Bracciolini recorded Da Conti's travels: "They (people of Sumatra) have a green fruit which they call durian, as big as a watermelon. Inside there are five things like elongated oranges, and resembling thick butter, with a combination of flavours." The Portuguese physician Garcia de Orta described durians in Colóquios dos simples e drogas da India published in 1563. In 1741, Herbarium Amboinense by the German botanist Georg Eberhard Rumphius was published, providing the most detailed and accurate account of durians for over a century. The genus Durio has a complex taxonomy that has seen the subtraction and addition of many species since it was created by Rumphius. During the early stages of its taxonomical study, there was some confusion between durian and the soursop (Annona muricata), for both of these species had thorny green fruit. It is also interesting to note the Malay name for the soursop is durian Belanda, meaning Dutch durian. In the 18th century, Johann Anton Weinmann considered the durian to belong to Castaneae as its fruit was similar to the horse chestnut.

 

D. zibethinus was introduced into Ceylon by the Portuguese in the 16th century and was reintroduced many times later. It has been planted in the Americas but confined to botanical gardens. The first seedlings were sent from the Royal Botanic Gardens, Kew, to Auguste Saint-Arroman of Dominica in 1884.

 

In southeastern Asia, the durian has been cultivated for centuries at the village level, probably since the late 18th century, and commercially since the mid-20th century. In My Tropic Isle, Australian author and naturalist Edmund James Banfield tells how, in the early 20th century, a friend in Singapore sent him a durian seed, which he planted and cared for on his tropical island off the north coast of Queensland.

 

In 1949, the British botanist E. J. H. Corner published The Durian Theory, or the Origin of the Modern Tree. His theory was that endozoochory (the enticement of animals to transport seeds in their stomach) arose before any other method of seed dispersal, and that primitive ancestors of Durio species were the earliest practitioners of that dispersal method, in particular red durian (D. dulcis) exemplifying the primitive fruit of flowering plants.

 

Since the early 1990s, the domestic and international demand for durian in the Association of Southeast Asian Nations (ASEAN) region has increased significantly, partly due to the increasing affluence of Asia.

 

USES

CULINARY

Durian fruit is used to flavour a wide variety of sweet edibles such as traditional Malay candy, ice kacang, dodol, lempuk, rose biscuits, and, with a touch of modern innovation, ice cream, milkshakes, mooncakes, Yule logs, and cappuccino. Es durian (durian ice cream) is a popular dessert in Indonesia, sold at street side stall in Indonesian cities, especially in Java. Pulut Durian or ketan durian is glutinous rice steamed with coconut milk and served with ripened durian. In Sabah, red durian is fried with onions and chilli and served as a side dish. Red-fleshed durian is traditionally added to sayur, an Indonesian soup made from freshwater fish. Ikan brengkes is fish cooked in a durian-based sauce, traditional in Sumatra. Traditionally Bollen pastry, specialty of Bandung is filled with banana and cheese. Today Bollen durian is also available, it is pastry filled with durian. Dried durian flesh can be made into kripik durian (durian chips).

 

Tempoyak refers to fermented durian, usually made from lower quality durian that is unsuitable for direct consumption. Tempoyak can be eaten either cooked or uncooked, is normally eaten with rice, and can also be used for making curry. Sambal Tempoyak is a Sumatran dish made from the fermented durian fruit, coconut milk, and a collection of spicy ingredients known as sambal.

 

In Thailand, durian is often eaten fresh with sweet sticky rice, and blocks of durian paste are sold in the markets, though much of the paste is adulterated with pumpkin. Unripe durians may be cooked as a vegetable, except in the Philippines, where all uses are sweet rather than savoury. Malaysians make both sugared and salted preserves from durian. When durian is minced with salt, onions and vinegar, it is called boder. The durian seeds, which are the size of chestnuts, can be eaten whether they are boiled, roasted or fried in coconut oil, with a texture that is similar to taro or yam, but stickier. In Java, the seeds are sliced thin and cooked with sugar as a confection. Uncooked durian seeds are toxic due to cyclopropene fatty acids and should not be ingested.

 

Young leaves and shoots of the durian are occasionally cooked as greens. Sometimes the ash of the burned rind is added to special cakes. The petals of durian flowers are eaten in the North Sumatra province of Indonesia, while in the Moluccas islands the husk of the durian fruit is used as fuel to smoke fish. The nectar and pollen of the durian flower that honeybees collect is an important honey source, but the characteristics of the honey are unknown.

 

NUTRITIONS AND FOLK MEDICINE

Durian fruit contains a high amount of sugar, vitamin C, potassium, and the serotonergic amino acid tryptophan, and is a good source of carbohydrates, proteins, and fats. It is recommended as a good source of raw fats by several raw food advocates, while others classify it as a high-glycemic food, recommending to minimise its consumption.

 

In Malaysia, a decoction of the leaves and roots used to be prescribed as an antipyretic. The leaf juice is applied on the head of a fever patient. The most complete description of the medicinal use of the durian as remedies for fevers is a Malay prescription, collected by Burkill and Haniff in 1930. It instructs the reader to boil the roots of Hibiscus rosa-sinensis with the roots of Durio zibethinus, Nephelium longan, Nephelium mutabile and Artocarpus integrifolia, and drink the decoction or use it as a poultice.

 

In the 1920s, Durian Fruit Products, Inc., of New York City launched a product called "Dur-India" as a health food supplement, selling at US$9 for a dozen bottles, each containing 63 tablets. The tablets allegedly contained durian and a species of the genus Allium from India and vitamin E. The company promoted the supplement saying that it provides "more concentrated healthful energy in food form than any other product the world affords".

 

CUSTOMS AND BELIEFS

Southeast Asian traditional beliefs, as well as traditional Chinese medicine, consider the durian fruit to have warming properties liable to cause excessive sweating. The traditional method to counteract this is to pour water into the empty shell of the fruit after the pulp has been consumed and drink it. An alternative method is to eat the durian in accompaniment with mangosteen, which is considered to have cooling properties. Pregnant women or people with high blood pressure are traditionally advised not to consume durian.

 

Another common local belief is that the durian is harmful when eaten with coffee or alcoholic beverages. The latter belief can be traced back at least to the 18th century when Rumphius stated that one should not drink alcohol after eating durians as it will cause indigestion and bad breath. In 1929, J. D. Gimlette wrote in his Malay Poisons and Charm Cures that the durian fruit must not be eaten with brandy. In 1981, J. R. Croft wrote in his Bombacaceae: In Handbooks of the Flora of Papua New Guinea that "a feeling of morbidity" often follows the consumption of alcohol too soon after eating durian. Several medical investigations on the validity of this belief have been conducted with varying conclusions, though a study by the University of Tsukuba finds the fruit's high sulphur content inhibits the activity of aldehyde dehydrogenase, causing a 70% reduction of the ability to clear toxins from the body.

 

The Javanese believe durian to have aphrodisiac qualities, and impose a set of rules on what may or may not be consumed with it or shortly thereafter. A saying in Indonesian, durian jatuh sarung naik, meaning "the durian falls and the sarong comes up", refers to this belief. The warnings against the supposed lecherous quality of this fruit soon spread to the West – the Swedenborgian philosopher Herman Vetterling commented on so-called "erotic properties" of the durian in the early 20th century.

 

A durian falling on a person's head can cause serious injuries because it is heavy, armed with sharp thorns, and can fall from a significant height. Wearing a hardhat is recommended when collecting the fruit. Alfred Russel Wallace writes that death rarely ensues from it, because the copious effusion of blood prevents the inflammation which might otherwise take place. A common saying is that a durian has eyes and can see where it is falling because the fruit allegedly never falls during daylight hours when people may be hurt. A saying in Indonesian, ketiban durian runtuh, which translates to "getting a durian avalanche", is the equivalent of the English phrase "windfall gain". Nevertheless, signs warning people not to linger under durian trees are found in Indonesia. Strong nylon or woven rope nettings are often strung between durian trees in orchards, serving a threefold purpose: the nets aid in the collection of the mature fruits, deter ground-level scavengers, and most importantly, prevent the durians from falling onto people.

 

A naturally spineless variety of durian growing wild in Davao, Philippines, was discovered in the 1960s; fruits borne from these seeds also lacked spines. Since the bases of the scales develop into spines as the fruit matures, sometimes spineless durians are produced artificially by scraping scales off immature fruits. In Malaysia, a spinesless durian clone D172 is registered by Agriculture Department on 17 June 1989. It was called "Durian Botak" (Bald Durian). In Indonesia, Ir Sumeru Ashari, head of Durian Research Centre, Universitas Brawijaya reported spineless durian from Kasembon, Malang. Another cultivar is from Lombok, Nusa Tenggara Barat, Indonesia.

 

Animals such as Sumatran elephants are known to consume durians. Curiously, the carnivorous Sumatran tiger is also known to consume durian occasionally. The strong odour of the fallen fruits in the jungle probably attracts the tiger to inspect the fruit and lick it.

 

CULTURAL INFLUENCE

The durian is commonly known as the "King of the Fruits", a label that can be attributed to its formidable look and overpowering odour. In its native southeastern Asia, the durian is an everyday food and portrayed in the local media in accordance with the cultural perception it has in the region. The durian symbolised the subjective nature of ugliness and beauty in Hong Kong director Fruit Chan's 2000 film Durian Durian (榴槤飄飄, lau lin piu piu), and was a nickname for the reckless but lovable protagonist of the eponymous Singaporean TV comedy Durian King played by Adrian Pang. Likewise, the oddly shaped Esplanade building in Singapore is often called "The Durian" by locals, and "The Big Durian" is the nickname of Jakarta, Indonesia.

 

One of the names Thailand contributed to the list of storm names for Western North Pacific tropical cyclones was 'Durian', which was retired after the second storm of this name in 2006. Being a fruit much loved by a variety of wild beasts, the durian sometimes signifies the long-forgotten animalistic aspect of humans, as in the legend of Orang Mawas, the Malaysian version of Bigfoot, and Orang Pendek, its Sumatran version, both of which have been claimed to feast on durians.

 

Frozen whole durians are shipped from Thailand to Asian markets and Chinatowns in Western countries.

 

WIKIPEDIA

Design: Michal Papež

 

PRECIOSA ORNELA presents the new PRECIOSA Hill™ fire polished bead.

This half-ball with a round base at a diameter of 6 and 8 mm is decorated with a multiple cut. The shallow rounding in the lower section makes it easier to sew around and to mutually link the bead with seed beads and other selected PRECIOSA Traditional Czech Beads™. It is possible to apply any type of surface finish to the excellently polished top of the delicate arching. Choose from the wide range of half-coatings and full-coatings to create your own collection. Use the options provided by this new geometric shape with facets which enhance the effects of the surface finishes and combine the bead with other popular shapes, for example with PRECIOSA Farfalle™, PRECIOSA Pellet™ and PRECIOSA Solo™ and create an elegant fashion accessory.

 

TECHNICAL INFORMATION:

Article number: 151 01 375

Size: 8 mm

Approx.PCS/KG: 2060

 

Visit our website for more information about the new PRECIOSA Hill™: PRECIOSA Hill™

 

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Goldmeyer Fir 8.4 ft diameter

Main sign Memorial Fountain

 

Today, the William Mulholland Memorial Fountain serves as a not-quite-legal wading pool for children and a photogenic backdrop for wedding parties. Motorists see it as they whiz past the entrance to Griffith Park at Los Feliz Boulevard and Riverside Drive. But few stop and walk around its 90-foot-diameter reflection pool, or know much about the man it honors.

 

Water appropriately shoots up from this memorial to William Mulholland, the man who built a concrete and steel river through the Mojave Desert and brought water to L.A.'s doorstep. August 1 will mark the anniversary of the memorial's dedication.

 

Growth--explosive and unending--was the fondest wish of many local businesspeople, land owners and other civic leaders in Mulholland's time. They realized by the 1890s that water--which until then had come exclusively from the Los Angeles River and local wells--limited further development.

 

Mulholland: The Man and His Work

 

Mulholland, an Irish immigrant, was a self-taught engineer who became head of the city's Bureau of Water Works and Supply. He supported the plan of another local visionary, Fred Eaton, to redirect water from the Owens Valley, on the eastern slope of the Sierras. Employing 5,000 workers and 6,000 mules, Mulholland completed the 238-mile-long aquaduct in record time and under budget.

 

The aquaduct, Mulholland estimated, would allow Los Angeles to grow from a quarter million people to 3 million.

 

There are no fountains honoring Mulholland in the Owens Valley, however. For several years in the 1920s, the Owens Valley and Los Angeles were locked in a bitter water war that occasionally spilled beyond the editorial pages and courtrooms. Mulholland hired armed guards to patrol the aquaduct. Even so, it was dynamited numerous times.

 

As recently as September 1976, the aquaduct was damaged by saboteurs after the Department of Water and Power announced plans to double its pumping of subsurface water from the Owens Valley. Shortly afterward, an arrow carrying a stick of dynamite and two blasting caps was shot at the Mulholland Memorial Fountain. No one was hurt and the dynamite did not explode. Ironically for the saboteur, the explosive-laden arrow landed in the water.

 

A Sentimental Dedication

 

But on Aug. 1, 1940, a warm Thursday evening, the water wars of the 1920s seemed safely in the past. Mulholland, who died in 1935, had outlived most of the controversy his career had generated. And the city had a grand new fountain to dedicate in his honor.

 

Approximately 3,000 people spilled across Los Feliz Boulevard, some standing on the adjacent hill in Griffith Park. The Los Angeles Police Band played. The Civic Chorus sang. The Aquaduct Post Color Guard presented the flag. Mayor Fletcher Bowron accepted the fountain on behalf of the city, predicting that "as the crystal pureness of the water . . . radiates brilliantly in the sun . . . or shimmers in the colors of myriad electric lights," the fountain would help to develop "a greater civic pride, a more developed civic consciousness."

 

Mulholland's granddaughter, Katherine Mulholland, was 17 years old at the time. She remembers her sister, Patricia, then nine years old, pushing a button to start the fountain. "That was quite dramatic," she said.

 

An Appropriate Site Alongside Griffith Park

 

The site was chosen for several reasons. It was located at one of the city's busiest and prettiest intersections. Furthermore, Mulholland had once lived there in a one-room wooden shack. The man who would build one of the world's great water projects was first employed by the water department as a ditch tender. His job was to keep the "zanja madre"--the city's main water ditch--clear of weeds and debris.

 

Although a committee comprised of the city's elite oversaw construction of the fountain--and provided most of the funds for it--there was also considerable popular support. Many DWP employees made contributions through payroll deductions. Even school children were asked to donate (including Katherine Mulholland's classmates, which she found a little embarrassing at the time) to the $30,000 project.

 

Over the next several decades, the fountain became a symbol of abundance--the good life, Los Angeles-style. Through a complex maze of timers and jets, the fountain--which operated between 7 a.m. and 11 p.m.--continually changed its shape, a water sculpture in motion.

 

Color added to the spectacle. Lights played upon the water in ever-varying combinations. Commented newsman Ralph Story in a segment about the fountain on "Ralph Story's Los Angeles" that first aired on KNXT (Now KCBS, Channel 2) on Oct. 6, 1968, "The panel of relays, gears and vertical camshafts . . . produces not only light, but changing light . . . sending the fountain through the entire spectrum of color in a smooth continuous pattern."

 

The 'Kool Aid' Fountain

 

Some say these lights made the water look like Kool Aid. A colorized post card of the fountain from the 1940s shows it at night and accentuates the Kool Aid effect. "The idea of colored lights was very much an idea of its place and time," Katherine Mulholland said. "It was Hollywood, after all."

 

But not all of the fountain's special effects were planned by the DWP. Glendale College Professor of Dance Lynn McMurrey grew up about a mile from the fountain. He remembers one particular Halloween:

 

We went down there trick or treating. Somebody filled the fountain with soap. When I came down there, Riverside Drive was covered with suds. The fountain was still splashing and the suds were up to the top of it. With the light shining on the soap suds it looked like somebody's fantasy.

 

The energy crisis of 1973-74 was grim for millions of Americans who waited in long lines and paid record prices for gasoline. But it was grimmer for the fountain. For a while, it was shut down. And for a long while after that, the water was turned on, but the lights weren't.

 

Today, the problem is aging equipment. The water no longer goes through a continuous cycle of patterns. No colored lights play on it at night. And sometimes it is simply, unceremoniously shut off.

 

"The tiles are in very bad shape," said Kuno Lill, a maintenance engineer with the DWP. He said that the fountain's water purification system, its electrical system and much of its underground plumbing will have to be replaced. Budget problems have deferred much of its maintenance.

 

He said the fountain is scheduled for overhaul and rebuilding within the next two years.

 

Writer's note: This article, one of an occasional series, is part of the Griffith Park History Project, an attempt to chronicle the park's long and remarkable life.

 

What memories do you have of Griffith Park? Suggestions? Questions? Criticisms?

 

Please call Mike Eberts at Glendale College 240-1000, Ext. 5352 (I have voice mail, so you can leave a message at any time.)

 

Write to, Mike Eberts, Griffith Park History Project, Glendale Community College, 1500 N. Verdugo Road, Glendale, CA 91208.

 

Text taken from

english.glendale.cc.ca.us/fountain.html

The Pantheon (/ˈpænθiən/ or US /ˈpænθiɒn/;[1] Latin: Pantheon[nb 1]) is a building in Rome, Italy, commissioned by Marcus Agrippa during the reign of Augustus (27 BC - 14 AD) and rebuilt by the emperor Hadrian about 126 AD.[2]

 

The building is circular with a portico of large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome.[3] The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft).[4]

 

It is one of the best-preserved of all Ancient Roman buildings. It has been in continuous use throughout its history, and since the 7th century, the Pantheon has been used as a church dedicated to "St. Mary and the Martyrs" but informally known as "Santa Maria Rotonda".[5] The square in front of the Pantheon is called Piazza della Rotonda.

 

Today, the William Mulholland Memorial Fountain serves as a not-quite-legal wading pool for children and a photogenic backdrop for wedding parties. Motorists see it as they whiz past the entrance to Griffith Park at Los Feliz Boulevard and Riverside Drive. But few stop and walk around its 90-foot-diameter reflection pool, or know much about the man it honors.

 

Water appropriately shoots up from this memorial to William Mulholland, the man who built a concrete and steel river through the Mojave Desert and brought water to L.A.'s doorstep. August 1 will mark the anniversary of the memorial's dedication.

 

Growth--explosive and unending--was the fondest wish of many local businesspeople, land owners and other civic leaders in Mulholland's time. They realized by the 1890s that water--which until then had come exclusively from the Los Angeles River and local wells--limited further development.

 

Mulholland: The Man and His Work

 

Mulholland, an Irish immigrant, was a self-taught engineer who became head of the city's Bureau of Water Works and Supply. He supported the plan of another local visionary, Fred Eaton, to redirect water from the Owens Valley, on the eastern slope of the Sierras. Employing 5,000 workers and 6,000 mules, Mulholland completed the 238-mile-long aquaduct in record time and under budget.

 

The aquaduct, Mulholland estimated, would allow Los Angeles to grow from a quarter million people to 3 million.

 

There are no fountains honoring Mulholland in the Owens Valley, however. For several years in the 1920s, the Owens Valley and Los Angeles were locked in a bitter water war that occasionally spilled beyond the editorial pages and courtrooms. Mulholland hired armed guards to patrol the aquaduct. Even so, it was dynamited numerous times.

 

As recently as September 1976, the aquaduct was damaged by saboteurs after the Department of Water and Power announced plans to double its pumping of subsurface water from the Owens Valley. Shortly afterward, an arrow carrying a stick of dynamite and two blasting caps was shot at the Mulholland Memorial Fountain. No one was hurt and the dynamite did not explode. Ironically for the saboteur, the explosive-laden arrow landed in the water.

 

A Sentimental Dedication

 

But on Aug. 1, 1940, a warm Thursday evening, the water wars of the 1920s seemed safely in the past. Mulholland, who died in 1935, had outlived most of the controversy his career had generated. And the city had a grand new fountain to dedicate in his honor.

 

Approximately 3,000 people spilled across Los Feliz Boulevard, some standing on the adjacent hill in Griffith Park. The Los Angeles Police Band played. The Civic Chorus sang. The Aquaduct Post Color Guard presented the flag. Mayor Fletcher Bowron accepted the fountain on behalf of the city, predicting that "as the crystal pureness of the water . . . radiates brilliantly in the sun . . . or shimmers in the colors of myriad electric lights," the fountain would help to develop "a greater civic pride, a more developed civic consciousness."

 

Mulholland's granddaughter, Katherine Mulholland, was 17 years old at the time. She remembers her sister, Patricia, then nine years old, pushing a button to start the fountain. "That was quite dramatic," she said.

 

An Appropriate Site Alongside Griffith Park

 

The site was chosen for several reasons. It was located at one of the city's busiest and prettiest intersections. Furthermore, Mulholland had once lived there in a one-room wooden shack. The man who would build one of the world's great water projects was first employed by the water department as a ditch tender. His job was to keep the "zanja madre"--the city's main water ditch--clear of weeds and debris.

 

Although a committee comprised of the city's elite oversaw construction of the fountain--and provided most of the funds for it--there was also considerable popular support. Many DWP employees made contributions through payroll deductions. Even school children were asked to donate (including Katherine Mulholland's classmates, which she found a little embarrassing at the time) to the $30,000 project.

 

Over the next several decades, the fountain became a symbol of abundance--the good life, Los Angeles-style. Through a complex maze of timers and jets, the fountain--which operated between 7 a.m. and 11 p.m.--continually changed its shape, a water sculpture in motion.

 

Color added to the spectacle. Lights played upon the water in ever-varying combinations. Commented newsman Ralph Story in a segment about the fountain on "Ralph Story's Los Angeles" that first aired on KNXT (Now KCBS, Channel 2) on Oct. 6, 1968, "The panel of relays, gears and vertical camshafts . . . produces not only light, but changing light . . . sending the fountain through the entire spectrum of color in a smooth continuous pattern."

 

The 'Kool Aid' Fountain

 

Some say these lights made the water look like Kool Aid. A colorized post card of the fountain from the 1940s shows it at night and accentuates the Kool Aid effect. "The idea of colored lights was very much an idea of its place and time," Katherine Mulholland said. "It was Hollywood, after all."

 

But not all of the fountain's special effects were planned by the DWP. Glendale College Professor of Dance Lynn McMurrey grew up about a mile from the fountain. He remembers one particular Halloween:

 

We went down there trick or treating. Somebody filled the fountain with soap. When I came down there, Riverside Drive was covered with suds. The fountain was still splashing and the suds were up to the top of it. With the light shining on the soap suds it looked like somebody's fantasy.

 

The energy crisis of 1973-74 was grim for millions of Americans who waited in long lines and paid record prices for gasoline. But it was grimmer for the fountain. For a while, it was shut down. And for a long while after that, the water was turned on, but the lights weren't.

 

Today, the problem is aging equipment. The water no longer goes through a continuous cycle of patterns. No colored lights play on it at night. And sometimes it is simply, unceremoniously shut off.

 

"The tiles are in very bad shape," said Kuno Lill, a maintenance engineer with the DWP. He said that the fountain's water purification system, its electrical system and much of its underground plumbing will have to be replaced. Budget problems have deferred much of its maintenance.

 

He said the fountain is scheduled for overhaul and rebuilding within the next two years.

 

Writer's note: This article, one of an occasional series, is part of the Griffith Park History Project, an attempt to chronicle the park's long and remarkable life.

 

What memories do you have of Griffith Park? Suggestions? Questions? Criticisms?

 

Please call Mike Eberts at Glendale College 240-1000, Ext. 5352 (I have voice mail, so you can leave a message at any time.)

 

Write to, Mike Eberts, Griffith Park History Project, Glendale Community College, 1500 N. Verdugo Road, Glendale, CA 91208.

 

Text taken from

english.glendale.cc.ca.us/fountain.html

The Dome

 

A vertical section of the dome of the Main Reading Room would show an exact half circle, with a diameter of 100 feet. The dome is of stucco, and applied to a framework of iron and steel, filled in with terra cotta. Although it appears to rest upon the deep upper entablature, it really springs immediately from the eight arches resting upon the great piers. The entablature, as will be seen on close inspection, bears no part in the construction. It is projected so far forward from the dome that one may easily walk between the two.

 

The entablature is about seven feet high, with a richly molded architecture and a heavy projecting corners. The ground of the frieze is gilt, with a relief ornament in white of eagles standing upon hemispheres and holding in their beaks a heavy garland of laurel. Over the north, south, east, and west arches are two female figures, the work of Philip Martiny, represented as seated upon the architrave molding and supporting a heavy cartouche—another instance of the emphasis that the architect has so often placed upon the four main axes of the building.

 

The Stucco Ornamentation

 

The dome is so simply planned that a description of its main features may be given in a very brief space. The surface is filled with a system of square coffers. The ornamentation of the body of the dome is in arabesque. The eight ribs that mark off the dome into compartments or reach divided into two by a band of gilded ornament representing a guilloche. The coffers diminish in size from 4½ feet square at the bottom to 2½ feet at the top. The total number of coffers is 320—or 40 in each compartment, and in each horizontal row, and eight in each vertical row. The ground of the coffers is blue, sky blue, as if one were really looking out into the open air—and therefore the color traditionally used in coffer in. To give sparkle and brilliancy, many shades and kinds of blue are used, the darker and heavier at the bottom, and the lighter and area are toward the top. The transition is so gradual and natural that the eye does not perceive any definite change, but only a generally increased vividness. The border moldings of the coffers are cream-colored—old ivory is the usual term—strongly touched with gold, and in the center of each is a great gold rosette.

 

Although the purpose of the dome arabesque is primarily to give an agreeable impression of light and shade, the individual figures of which it is composed are nearly as interesting a subject of study is the general effect of the whole. The variety of the figures is almost bewildering—lions’ heads, seahorses, dolphins, urns, cartouche’s, griffons, shells, storks, caryatids, tridents, eagles, cherubs, half figures, genii—altogether something like forty-five principal designs, interwoven with very many smaller but no less beautiful pieces of ornament. They all are adapted from Renaissance models of the best and purest period and are combined with the utmost spirit and harmony in an arabesque whose every portion has equal artistic value. No single figure catches the eye; broad horizontal and vertical bands of decoration, gradually diminishing as they approached the top, and circle and ascend the dome, each with its “note” of arrangement and design, but all cunningly united to form an indisputable whole, everywhere balanced and restrained.

 

Edwin Howland Blashfield’s Paintings

 

The position of Edwin Howland Blashfield’s decorations in the collar and lantern of the dome is the noblest and most inspiring in the Library. They are literally and obviously the crowning glory of the building and put the final touch on the whole decorative scheme of the interior. The visitor will see how, without them, not a painting in the building would seem to remain solidly and easily in its place, for they occupy not only the highest but the exact central point of the Library, to which, in a sense, every other is nearly relative.

 

Blashfield was almost certainly drawn to select some subject as he has here chosen: the Evolution of Civilization, the records of which it is the function of a great library to gather and preserve.

 

The ceiling of the lantern is sky and air, against which, as a background, floats the beautiful female figure representing Human Understanding, lifting her veil and looking upward from Finite Intellectual Achievement (typified in the circle of figures and the collar) to that which is beyond; in a word, Intellectual Progress looking upward and forward. She is attended by two cherubs; one holds the book of wisdom and knowledge, the other seems, by his gesture, to be encouraging those needs to persist in their struggle toward perfection.

 

The decoration of the collar consists of a ring of twelve seated figures, male and female, ranged against a wall of mosaic patterning. They are of colossal size, measuring, as they sit, about ten feet in height. They represent the twelve countries, or epics, which have contributed most to the development of present-day civilization in this country. Beside each is a tablet, decorated with palms, on which is inscribed the name of the country typified, and below this, on a continuous banderole or streamer, is the name of some cheese or typical contribution of that country to the sum of human excellence. The figures follow one another in chronological order, beginning, appropriately enough, at the east, the East being the cradle of civilization. List is as follows: Egypt, typifying Written Records; Judea, Religion; Greece, Philosophy; Rome, Administration; Islam, Physics; The Middle Ages, Modern Languages; Italy, the Fine Arts; Germany, the Art of Printing; Spain, Discovery; England, Literature; France, Emancipation; and America, Science.

 

Each figure is winged, as representing an ideal, but the wings, which overlapped regularly throughout, serve mainly to unite the composition in the continuous whole and in no case have been allowed to hamper the artist in his effort to make each figure the picture of a living, breathing man or woman. Four of the twelve figures, it will be observed, stand out more conspicuously than the rest because of the lighter tone of their drapery: Egypt, Rome, Italy, and England. They occupy respectively the East, South, West, and North points in the decoration and furnish another instance of the stress that has been laid, throughout the Library, upon the four cardinal points of the compass that governed the axial lines of the building and that, in turn, have been enriched and dignified in the final decorative scheme of the interior. Each of these axial figures is painted in a more rigid attitude than those beside it informs, as will be noticed, the center of a triad, or group of three, each of flanking figures leaning more or less obviously toward it. It should be noted that there was no intention on the part of the painter to magnify the importance of before figures thus represented over any of the others. The emphasis of color is solely for decorative purposes. The arrangement being chronological, Blashfield was unable to exercise much control over the order in which each figure should occur and still retain his original selection of countries.

 

Egypt is represented by a male figure clad in the loincloth and with lappets so familiar in the ancient monuments. The idea of Written Records is brought up by the tablet he supports with his left hand, which is inscribed in hieroglyphics the cartouche or personal seal of Mena, the first recorded Egyptian king, and by the case of books at his feet, which is filled with manuscript roles of papyrus, the Egyptian paper. Besides the idea of Writing and Recording, Blashfield brings out the fact that the Egyptians were among the first doctrine of the immortality of the soul. The figure holds in the right hand the Tau, or cross with a ring head, the emblem of life both in this world and beyond; and on the tablet behind his feet is the winged ball, the more familiar symbol of the same idea.

 

Judea is shown as a woman lifting her hands in an ecstatic prayer to Jehovah. The over garment that she wears falls partly away and discloses the ephod, which was investment borne by the high priests, ornamented with a jeweled breastplate and with shoulder clasps set in gold, which were engraved the names of the Twelve Tribes of Israel. On the face of the stone pillars set beside her is inscribed, in Hebrew characters, the injunction, as found in Leviticus 19:18: “Thou shalt love thy neighbor as thyself”—a sentence selected as being perhaps the noblest single text contributed by the Jewish religion to the system of modern morality. In her lap is a scroll containing, presumably, a portion of the Scriptures; and that her feet is a censer, typical of the Hebrew ritualism.

 

The figure of Greece is distinctively suggestive, so far as attitude drapery are concerned, one of the beautiful little Tanagra figures of terra cotta—so called from the ancient Greek town in which the first discovered—which are so familiar to students of Greek art. A bronze lamp is set beside her, and in her lap is a scroll—the emblems of wisdom. Her head is crowned with a diadem, perhaps a reference to the City of the Violet Crown, Athens, the Mother of Philosophy.

 

Rome, the second axial figure, where’s the armor of a centurion, or captain in a legion. A lion’s skin, the mark of a standard-bearer, is thrown over him, the head covering the top of his casque. The whole conception is that of the just but inexorable administration of Rome founded upon the power of its arms. One foot is planted upon the lower drum of a marble column, signifying stability. His right arm rests upon the fasces, or bundle of rods, the typical emblem of Roman power and rule. In his right hand, he holds the baton of command.

 

Islam is an Arab, standing for the Moorish race, which introduced into Europe not only an improved science of physics—as here used by Blashfield in its older and less restricted sense—but of mathematics and astronomy also. His foot rests upon a glass retort, and he is turning over the leaves of a book of mathematical calculations.

 

The term Middle Ages, represented by the female figure that comes next in the decoration, is usually understood to mean the epic beginning with the dissolution of the Western Roman Empire in 455 and ending with the discovery of America in 1492. No single country is here indicated, for Europe was throughout that. In a state of flux, so to say, during which the principal modern languages were finally involved from the Latin and Teutonic tongues. But it was an epic notable for many other things, also. The figure typifying the epic is distinguished by an expression at once graven passionate, and has a sword, casque, and cuirass, emblematic of the great institution of Chivalry; a model of a cathedral, standing for Gothic architecture, which was brought to its greatest perfection in these thousand years; and a papal tiara and the keys of St. Peter, signifying medieval devotion and the power of the church.

 

The next figure, Italy—the Italy of the Renaissance—is shown with symbols of four of the Fine Arts that she represents: Painting, Sculpture, Architecture, and Music. She holds a pallet in her left hand and with the brush in her right seems to lay another stroke of color on her canvas. To her left is a statuette after Michelangelo’s celebrated David, in Florence. At her feet is a Renaissance capital; and leaning against the wall of violin, at once the typical musical instrument and one the Italians excelled in manufacturing.

 

Germany is the printer, turning from his press—a hand press, accurately copied from early models—to examine the proof sheet he has just pulled. His right foot is placed upon a pile of sheets already corrected, and a roller for inking lies convenient to his hand.

 

Spain is the sixteenth-century Spanish adventurer. He wears a steel morion on his head and is clad in a leathern jerkin. Holding the tiller of the ship in his right hand, he seems to be watching for land to appear in the seat. Behind him is a globe of the earth, and that his feet a model of a caravel, the sort of ship in which Columbus sailed on his voyages, is introduced.

 

England wears the ruff and full sleeves of the time of Elizabeth—the era when English literature, both poetry and prose, was at its peak. She is crowned with laurel—the reward of literature—and bears in her lap an open book of Shakespeare’s plays, the right-hand page with a for simile of the title page of the first edition of A Midsummer Night’s Dream, dated 1600.

 

France, standing for emancipation and the great revolutionary upheaval of the 18th century, is dressed in a characteristic garb of the First Republic: a jacket with lapels, a tricolor scarf, and a liberty cap with a tricolor cockade. She sits on a cannon and carries a drum, a bugle, and a sword—emblems of her military crusade on behalf of liberty. In her left hand, she displays a scroll bearing the words Les Droits de l’Homme, the famous Declaration of the Rights of Man adopted by the French Assembly in 1789.

 

The twelfth and last figure, bringing us once more round to the east, is that of America—represented as an engineer, in the garb of the machine shop, sitting lost in thought over a problem of mechanics he has encountered. He leans his chin upon the palm of one hand, while the other holds the scientific book that he has been consulting. In front of him as an electric dynamo, recalling the part that the United States has taken in the advancement of electrical science.

 

On the base of the dynamo Blashfield has signed his work in an inscription that recalls also the name of the artist who assisted him and laying it upon the plaster: “These decorations were designed and executed by Edwin Howland Blashfield, assisted by Arthur Reginald Willet, A.D. MDCCCLXXXXVI.”

 

The visitor will perhaps have been a little perplexed by the familiar appearance of some of the faces in Blashfield’s decoration. It is an interesting fact that in several cases Blashfield has introduced a resemblance, more or less distinct, to the features of some real person to give greater variety and, above all, greater vitality to his figures. The persons chosen were selected because the character of their features seemed to him peculiarly suited to the type that he wished to represent. In the case of Abraham Lincoln—the figure of America—and of General Casey—Germany—the choice was fitting for other reasons. Among the female figures, the Middle Ages is Mrs. De Navarro (Mary Anderson), and England, Ellen Terry. The faces of Italy and Spain are from sketches made from Amy Rose, a young sculptor in New York, and William Bailey Faxon, the painter, respectively. France suggests the features of the artist’s wife. Throughout, however, it must be remembered that, to use Blashfield’s own words, “no portraiture has been attempted, but only characterization.”

 

Today, the William Mulholland Memorial Fountain serves as a not-quite-legal wading pool for children and a photogenic backdrop for wedding parties. Motorists see it as they whiz past the entrance to Griffith Park at Los Feliz Boulevard and Riverside Drive. But few stop and walk around its 90-foot-diameter reflection pool, or know much about the man it honors.

 

Water appropriately shoots up from this memorial to William Mulholland, the man who built a concrete and steel river through the Mojave Desert and brought water to L.A.'s doorstep. August 1 will mark the anniversary of the memorial's dedication.

 

Growth--explosive and unending--was the fondest wish of many local businesspeople, land owners and other civic leaders in Mulholland's time. They realized by the 1890s that water--which until then had come exclusively from the Los Angeles River and local wells--limited further development.

 

Mulholland: The Man and His Work

 

Mulholland, an Irish immigrant, was a self-taught engineer who became head of the city's Bureau of Water Works and Supply. He supported the plan of another local visionary, Fred Eaton, to redirect water from the Owens Valley, on the eastern slope of the Sierras. Employing 5,000 workers and 6,000 mules, Mulholland completed the 238-mile-long aquaduct in record time and under budget.

 

The aquaduct, Mulholland estimated, would allow Los Angeles to grow from a quarter million people to 3 million.

 

There are no fountains honoring Mulholland in the Owens Valley, however. For several years in the 1920s, the Owens Valley and Los Angeles were locked in a bitter water war that occasionally spilled beyond the editorial pages and courtrooms. Mulholland hired armed guards to patrol the aquaduct. Even so, it was dynamited numerous times.

 

As recently as September 1976, the aquaduct was damaged by saboteurs after the Department of Water and Power announced plans to double its pumping of subsurface water from the Owens Valley. Shortly afterward, an arrow carrying a stick of dynamite and two blasting caps was shot at the Mulholland Memorial Fountain. No one was hurt and the dynamite did not explode. Ironically for the saboteur, the explosive-laden arrow landed in the water.

 

A Sentimental Dedication

 

But on Aug. 1, 1940, a warm Thursday evening, the water wars of the 1920s seemed safely in the past. Mulholland, who died in 1935, had outlived most of the controversy his career had generated. And the city had a grand new fountain to dedicate in his honor.

 

Approximately 3,000 people spilled across Los Feliz Boulevard, some standing on the adjacent hill in Griffith Park. The Los Angeles Police Band played. The Civic Chorus sang. The Aquaduct Post Color Guard presented the flag. Mayor Fletcher Bowron accepted the fountain on behalf of the city, predicting that "as the crystal pureness of the water . . . radiates brilliantly in the sun . . . or shimmers in the colors of myriad electric lights," the fountain would help to develop "a greater civic pride, a more developed civic consciousness."

 

Mulholland's granddaughter, Katherine Mulholland, was 17 years old at the time. She remembers her sister, Patricia, then nine years old, pushing a button to start the fountain. "That was quite dramatic," she said.

 

An Appropriate Site Alongside Griffith Park

 

The site was chosen for several reasons. It was located at one of the city's busiest and prettiest intersections. Furthermore, Mulholland had once lived there in a one-room wooden shack. The man who would build one of the world's great water projects was first employed by the water department as a ditch tender. His job was to keep the "zanja madre"--the city's main water ditch--clear of weeds and debris.

 

Although a committee comprised of the city's elite oversaw construction of the fountain--and provided most of the funds for it--there was also considerable popular support. Many DWP employees made contributions through payroll deductions. Even school children were asked to donate (including Katherine Mulholland's classmates, which she found a little embarrassing at the time) to the $30,000 project.

 

Over the next several decades, the fountain became a symbol of abundance--the good life, Los Angeles-style. Through a complex maze of timers and jets, the fountain--which operated between 7 a.m. and 11 p.m.--continually changed its shape, a water sculpture in motion.

 

Color added to the spectacle. Lights played upon the water in ever-varying combinations. Commented newsman Ralph Story in a segment about the fountain on "Ralph Story's Los Angeles" that first aired on KNXT (Now KCBS, Channel 2) on Oct. 6, 1968, "The panel of relays, gears and vertical camshafts . . . produces not only light, but changing light . . . sending the fountain through the entire spectrum of color in a smooth continuous pattern."

 

The 'Kool Aid' Fountain

 

Some say these lights made the water look like Kool Aid. A colorized post card of the fountain from the 1940s shows it at night and accentuates the Kool Aid effect. "The idea of colored lights was very much an idea of its place and time," Katherine Mulholland said. "It was Hollywood, after all."

 

But not all of the fountain's special effects were planned by the DWP. Glendale College Professor of Dance Lynn McMurrey grew up about a mile from the fountain. He remembers one particular Halloween:

 

We went down there trick or treating. Somebody filled the fountain with soap. When I came down there, Riverside Drive was covered with suds. The fountain was still splashing and the suds were up to the top of it. With the light shining on the soap suds it looked like somebody's fantasy.

 

The energy crisis of 1973-74 was grim for millions of Americans who waited in long lines and paid record prices for gasoline. But it was grimmer for the fountain. For a while, it was shut down. And for a long while after that, the water was turned on, but the lights weren't.

 

Today, the problem is aging equipment. The water no longer goes through a continuous cycle of patterns. No colored lights play on it at night. And sometimes it is simply, unceremoniously shut off.

 

"The tiles are in very bad shape," said Kuno Lill, a maintenance engineer with the DWP. He said that the fountain's water purification system, its electrical system and much of its underground plumbing will have to be replaced. Budget problems have deferred much of its maintenance.

 

He said the fountain is scheduled for overhaul and rebuilding within the next two years.

 

Writer's note: This article, one of an occasional series, is part of the Griffith Park History Project, an attempt to chronicle the park's long and remarkable life.

 

What memories do you have of Griffith Park? Suggestions? Questions? Criticisms?

 

Please call Mike Eberts at Glendale College 240-1000, Ext. 5352 (I have voice mail, so you can leave a message at any time.)

 

Write to, Mike Eberts, Griffith Park History Project, Glendale Community College, 1500 N. Verdugo Road, Glendale, CA 91208.

 

Text taken from

english.glendale.cc.ca.us/fountain.html

Fitted to this Porsche Panamera is our Rotary Formed RF2s shown in Matte Black. The 22x9, 22x10.5 is an optimized diameter and width for the Panamera, perfectly fitted with a staggered concave appearance.

This large-scale installation features a seven-meter (23 foot) diameter spherical model of the moon that showcases high-resolution NASA imagery of the lunar surface. The artwork is internally lit and provides a detailed representation of the moon. The model is accompanied by a surround-sound composition by award-winning composer Dan Jones. The artwork aims to highlight the latest moon science, gather personal responses and stories, and explore cultural similarities and differences related to the moon. It’s a truly immersive experience that allows visitors to observe and contemplate the moon’s beauty and significance from a new perspective.

 

The Museum of the Moon is touring various locations around the world. Currently, it is in the Exploratorium in San Francisco, where it will continue to be displayed until January 26, 2025.

 

Sempervivium Hens and chicks houseleek 2013 through 2016- a four year plant history.

 

2013 Sempervivium Hens and chicks houseleek

In 2013 I kept this potted plant in my back yard under a large fruitless mulberry tree by the gas barbeque grill. The pot is about 14 inches in diameter and 5 inches high. It was on a 1 gal/hr drip emitter for about 6 minutes a day 5 days a week. This photo was taken on 9/28/2013. It had 9 blooms at the time. But some of the blooms were larger than my hand. It got very little sun except for the morning. A good friend allows me to store this plant in his green house in the New Mexico winter. There are hardly any fine roots. Rather it is more like a tuber to transplant, and there is a lot of success with transplants. I feed it BR61 and Miracle Grow. The bottom-most leaves tend to dry out, so you have to do a bit of grooming in the spring, but this is an easy fault-tolerant and attractive plant to grow in New Mexico.

 

2014 Same Sempervivium Hens and chicks houseleek –move for more sun and water

In 2014 I moved the pot to the front yard by the driveway in the spring after the frost period. It got full sun every day and over-spray watering from the front yard sprinklers. I counted 10 blooms at the time this photo was taken on 8/13/2014. I had transplanted 2 large blooms that practically fell off earlier in the year

.

2015 Same Sempervivium Hens and chicks houseleek - Population Explosion

Albuquerque had heavy rains this year and all our plants have flourished. This particular houseleek added numerous new growths in the past 3 months. This photo was taken 7/13/2015. I counted 42 blooms. It amazes me that the plant mass appears to exceed the mass of earthen dirt and compost in the pot by a considerable measure. It is probably about 4 to 5 years old now. It is maintained on a drip system and watered 6 days a week. It also gets some lawn sprinkler over-spray. It gets morning sun but it is in the shade for most of the hot afternoons. I will have to split it next year. I will continue to use pots because this plant does not survive in our NM winter weather. How many plants do you know that do well in sun or shade, are tolerant of watering foibles and require very little attention? Indeed, they reward you with interesting shapes and colors and the occasional long thin sprig of very small delicate flowers.

 

2016 Same Sempervivium Hens and chicks houseleek – new pots

Alas, the super dense collection of this plant did not “winter over” well despite being in a green house. For that matter, neither did I due to medical issues. Also the earthen pot started to crumble and would not last the year out. I had to transplant what I could salvage into two small plants. I am not giving up on this plant. I hope to restore it to its former glory

 

2016 Same Sempervivium Hens and chicks houseleek – new pots

Alas, the super dense collection of this plant did not “winter over” well despite being in a green house. For that matter, neither did I due to medical issues. Also the earthen pot started to crumble and would not last the year out. I had to transplant what I could salvage into two small plants. I am not giving up on this plant. I hope to restore it to its former glory.

 

via

 

Vendor: Creative Wall Clock

Type:

Price: 39.90

 

Type:Wall Clocks;Style:Modern;Material:Bamboo & Wooden;Model Number:MZGZ-006;Motivity Type:Quartz;Display Type:Needle;Length:300 mm;Diameter:30 cm;Pattern:Abstract;Applicable Placement:Living Room;Feature:Antique Style;Combination:Separates;Shape:Geometric;Brand Name:The Vinyl Clock;Width:30 cm;Form:Single Face;Body Material:Wood;Body Material:Wood;Wall Clock Type:Wood;

 

Honeycomb Wall Clock

   

Time sweetly flies when you're watching it pass on this nature-inspired clock. Combines the geometric beauty of honeycomb with the human innovation of laser-cutting technology. The delicate, hexagonal lattice is created by precision-cutting decorative plywood

 

The clock adds a burst of cheery sweetness without taking up much wall space, and makes a buzz-worthy addition to your kitchen, sun room or office.

 

****BASIC INFORMATIONS****

 

Size -30cm (12") x 30 cm (12")

Thickness - 5 mm (1/5 ")

Clock colour - natural wood

 

Please keep in your mind that wood is a natural material and therefore all wooden clocks are little bit different in color and wood pattern; each clock is a unique piece of wood.

Laser cutting the designs into the plywood give each piece an unique smoky smell!

 

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This is another of my Sputnik Rings. I have shown these before but I really liked how this one turned out and the new photo on the slate.

 

This ring features a 7 mm onyx bullet cab sitting atop a brass cone holding a freely turning wheel with five spokes. This ring is a size 8. It stands 1 1/4" tall and is just over 5/8" in diameter at the spokes.

1. Aluminum Casting and Rolling Machine Application:

This aluminum rod CCR line is designed to manufacture aluminum conductive rod diameter of 12mm with 13rolling stands, 9.5mm with 15 rolling stands.

2.1 Aluminum Casting and Rolling Machine Main technical date:

Dia. of the al. rod: Ф12, Ф9.5 mm

Production capacity: 2.5-4.2t/h

Overall dimension: (l×w×h) ≈32.05×7.2×4.2m

Total weight: ≈60t (not include the furnace body)

 

2.2 Technical data for components:

2.2.1. Continuous casting machine

Dia. of the crystallizing wheel: Ф1500mm

Section of the crystallizing wheel: 2420mm2

Section of the ingot: 2400mm2

Casting speed: 7.6-15m/min (rotate speed of the motor 500-1000r/min)

Rotate speed of the crystallizing wheel: 1.66-3.3r/min

Power of the crystallizing wheel motor: 4Kw

Cooling water pressure of the crystallizing wheel: 0.35-0.6Mpa

Cooling water consumption: 100t/h (inner cooling 60t/h, outer cooling 40t/h)

Water pump type: IS100-65-200

Motor type: Y160M2-2 22Kw

2.2.2. Monorail hydraulic shear:

Max. shearing force: 12000kgf

Max. shearing stroke: 65mm

Motor hoist type: TV-0.50 Max. load 250kg

Pump type: CB-FC-20

Oilpressure: 160kg/cm2

Oil volume: 20L/min

Motor power: 7.5Kw n=960r/min

2.2.3. Continuous rolling machine type Y:

Type: 3-roller type Y

Dia. of rod: Ф9.5, Ф12mm

No. of rolling stands: 15, 13

Nominal roller dia.: Ф255mm

Driving ratio between neighboring stands: 1:1.25

Max. finished rolling speed: V=6.2m/s

Rolling center height: 852.5mm

Main motor power: 250kw (DC n=500R/min)

Gear box and lubricating oil box: 3m3

2.2.4. Coiler:

Max. coiling weight: 2t

Max. dia. of the coiler: Ф1800mm

Driving motor power: 1.5kw

Trolley motor: 2.2kw

Trolley speed: 0.75/s

3. Aluminum Casting and Rolling Machine Brief technological process:

3.1

  

3.2 Aluminum liquid or compounded aluminum flows from the holding furnace through the launder to the belt continuous casting machine to cast the molten aluminum into trapezium ingot with a section of 2400mm2, then shear the substandard aluminum ingot, press the front part small, and feed it into the 15 rolling stands to manufacture al. rod with a dia. of 9.5mm. The stand (can also be bought from us) which will loop it.

4. Aluminum Casting and Rolling Machine Component parts and structural features:

4.1. Continuous casting machine:

Belt continuous casting machine consists of crystallizing wheel, driving device, press roll device, steel belt greasing device, guide bridge, steel belt tensioner, external cooling inject, steel belt, etc.

The melt aluminum flows from the holding furnace through the launder to the pouring groove, the floating head of the plug controls the flow of the al. liquid, the liquid is poured into the cavity formed by the crystallizing wheel and the sealed belt. The whole pouring groove can be moved up and down driving by the power of motor. Worm gear reducer and screw pair. The section of crystallizing wheel is M-type, and it is driven by the motor. The crystallizing wheel is equipped with an inner cooling device, which could spray cooling water onto the inner surface of the wheel with a water pressure of 0.35 Mpa. The inner cooling water can be divided into 6 sections; the flow could be controlled by the cut off valve. The external cooling device spray the cooling water onto the steel belt, so as to cool the al. liquid won't flow out. The guide wheel is used to adjust or change the direction of the steel belt and change the length of the cavity. The tension of the steel belt can be changed through the tensioner, so as to keep a certain tension. In order to strip the al. ingot, the continuous casting machine is equipped with steel belt greasing device. Because the whole process is not interrupted long ingot can be gained.

4.2. Continuous rolling mill:

The continuous rolling mill consists of 15 rolling stands of three rollers type-Y. The nominal dia. is 255mm. there are 7 upper driving device for even number rolling stands and 8 lower driving device for odd number rolling stands, they are arranged alternately. The type of the hole is "circuit-arc triangle-circuit". The main DC motor transmits the power through the coupler and the main shaft under the 12th rolling stand of driving gearbox. The transmission ratio between two neighboring stands is 1:1.25; there is safe tooth-like coupling in the junction of the gearbox and rolling stands. When it is overloaded, the safe pin will be cut to avoid the accident. In the front and the back of the rolling stands there are inlet and outlet guide device. The rolling guide device is used in the odd number rolling stands, and the sliding guide device is used in the even number rolling stands. Small roller of every rolling stands can be adjusted by shims of the different thickness; the range can be 0.1-1.00mm. The adjustment of the hole every rolling stands is taken out by a certain plug gauge. The seam can be 0.866mm, the tolerance is ±0.10mm.

The thin-oil lubricating system is used to lubricating the driving gearbox and bearings. It includes:

Oil pump: ZCY-18m3/0.36

Max. flow: 18m3/h

Work pressure: 0.35Mpa

Motor type: Y132M2-6 5.5kw

Oil temperature: 35-45oC

Oil tank: 3m3

The lubricating oil comes out of the oil box which has a volume of 3m3, and flows through the oil pump into the main intake pipe and then into the gearbox in three different ways. The lubricating oil is sprayed onto the gear through the oil nozzle, and lubricates the rolling bearing directly through the red copper joint of the branch oil pipe and the upper part of the bearing block.

The emulsion comes out of the emulsion station and flows into the main emulsion pipe which is installed in the driving gear box, and flows through the top and two sides of the stands into the rolling stands and the guide device separately. The returned emulsion can flows back to the emulsion tank through the return emulsion pipe and slot.

4.3. Monorail hydraulic shear:

The monorail hydraulic shear system consists of monorail hoist, hydraulic shearing device and oil system. The max. load is 250kg. In order to make it convenient to use hydraulic shear between the space of the continuous casting machine and continuous rolling mill, the hoist can move alone the crossbeam which is 7 meters high. The max. shear force of the hydraulic shear is 12000kgf. It is mainly used for shearing the unstandardized al. ingot.

4.4. Coiling stands:

The coiling stand consists of the coiler and the trolley and the collecting basket. The rod is guided by the guide pipe into the spinning head of the worn, and it is going to form different dia. of loop in the collecting basket. This is down by changing the rotational speed of the motor of the spinning head. By adding the lubricating grease, the frictional force between the rod and guide pipe will be reduced. This can protect the finished rod or wire.

There are two collecting basket of the same size on the trolley, and under the trolley there is a motor. When one is full, another basket is going to take its place. On the top of the coiling stand, there is a dust hood, which linked to the exhaust pipe under the pillar of coiler, so the fume produced when the rod travels through the guide pipe.

Shanghai Lishang International Trading Co.,Ltd., the professional continuous casting machine supplier in China, and the best continuous casting machine manufacturer in China.

Shanghai Lishang International Trading Co.,Ltd. is a professional international trade company in China. We are a subsidiary company of Shanghai Pudong Lisheng Electrical Machinery Co.,Ltd which is a leading electrician's machinery manufacturer with 20 years production experience in China. Lisheng's main products includes Upward continuous casting system, Continuous casting and rolling system for copper rod production and Copper cathode producing line, etc.

We have cooperated with many famous electrical wire or cable producing groups and our users had already spread all over the world like South East Asia, Middle East, Western Europe and America. We are one of the biggest exports and absorbed in electric wire and cable process equipments export.

 

www.chinacablemachinery.com

Nancy Grossman

"Bride" 1966

Mixed media assemblage, 22 ½ inches in diameter

  

www.francisnaumann.com/EXHIBITIONS/VV/index.html

 

“THE VISIBLE VAGINA”

 

FRANCIS M. NAUMANN FINE ART

and DAVID NOLAN GALLERY

  

January 28 – March 20, 2010

Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art

Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery

 

THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.

  

As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.

  

The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.

 

The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.

  

PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.

  

FRANCIS M. NAUMANN FINE ART

24 West 57th Street, Suite 305

New York, NY, 10019

Telephone: 212.582.3201

LHOOQ@FRANCISNAUMANN.COM

www.francisnaumann.com/

 

Today, the William Mulholland Memorial Fountain serves as a not-quite-legal wading pool for children and a photogenic backdrop for wedding parties. Motorists see it as they whiz past the entrance to Griffith Park at Los Feliz Boulevard and Riverside Drive. But few stop and walk around its 90-foot-diameter reflection pool, or know much about the man it honors.

 

Water appropriately shoots up from this memorial to William Mulholland, the man who built a concrete and steel river through the Mojave Desert and brought water to L.A.'s doorstep. August 1 will mark the anniversary of the memorial's dedication.

 

Growth--explosive and unending--was the fondest wish of many local businesspeople, land owners and other civic leaders in Mulholland's time. They realized by the 1890s that water--which until then had come exclusively from the Los Angeles River and local wells--limited further development.

 

Mulholland: The Man and His Work

 

Mulholland, an Irish immigrant, was a self-taught engineer who became head of the city's Bureau of Water Works and Supply. He supported the plan of another local visionary, Fred Eaton, to redirect water from the Owens Valley, on the eastern slope of the Sierras. Employing 5,000 workers and 6,000 mules, Mulholland completed the 238-mile-long aquaduct in record time and under budget.

 

The aquaduct, Mulholland estimated, would allow Los Angeles to grow from a quarter million people to 3 million.

 

There are no fountains honoring Mulholland in the Owens Valley, however. For several years in the 1920s, the Owens Valley and Los Angeles were locked in a bitter water war that occasionally spilled beyond the editorial pages and courtrooms. Mulholland hired armed guards to patrol the aquaduct. Even so, it was dynamited numerous times.

 

As recently as September 1976, the aquaduct was damaged by saboteurs after the Department of Water and Power announced plans to double its pumping of subsurface water from the Owens Valley. Shortly afterward, an arrow carrying a stick of dynamite and two blasting caps was shot at the Mulholland Memorial Fountain. No one was hurt and the dynamite did not explode. Ironically for the saboteur, the explosive-laden arrow landed in the water.

 

A Sentimental Dedication

 

But on Aug. 1, 1940, a warm Thursday evening, the water wars of the 1920s seemed safely in the past. Mulholland, who died in 1935, had outlived most of the controversy his career had generated. And the city had a grand new fountain to dedicate in his honor.

 

Approximately 3,000 people spilled across Los Feliz Boulevard, some standing on the adjacent hill in Griffith Park. The Los Angeles Police Band played. The Civic Chorus sang. The Aquaduct Post Color Guard presented the flag. Mayor Fletcher Bowron accepted the fountain on behalf of the city, predicting that "as the crystal pureness of the water . . . radiates brilliantly in the sun . . . or shimmers in the colors of myriad electric lights," the fountain would help to develop "a greater civic pride, a more developed civic consciousness."

 

Mulholland's granddaughter, Katherine Mulholland, was 17 years old at the time. She remembers her sister, Patricia, then nine years old, pushing a button to start the fountain. "That was quite dramatic," she said.

 

An Appropriate Site Alongside Griffith Park

 

The site was chosen for several reasons. It was located at one of the city's busiest and prettiest intersections. Furthermore, Mulholland had once lived there in a one-room wooden shack. The man who would build one of the world's great water projects was first employed by the water department as a ditch tender. His job was to keep the "zanja madre"--the city's main water ditch--clear of weeds and debris.

 

Although a committee comprised of the city's elite oversaw construction of the fountain--and provided most of the funds for it--there was also considerable popular support. Many DWP employees made contributions through payroll deductions. Even school children were asked to donate (including Katherine Mulholland's classmates, which she found a little embarrassing at the time) to the $30,000 project.

 

Over the next several decades, the fountain became a symbol of abundance--the good life, Los Angeles-style. Through a complex maze of timers and jets, the fountain--which operated between 7 a.m. and 11 p.m.--continually changed its shape, a water sculpture in motion.

 

Color added to the spectacle. Lights played upon the water in ever-varying combinations. Commented newsman Ralph Story in a segment about the fountain on "Ralph Story's Los Angeles" that first aired on KNXT (Now KCBS, Channel 2) on Oct. 6, 1968, "The panel of relays, gears and vertical camshafts . . . produces not only light, but changing light . . . sending the fountain through the entire spectrum of color in a smooth continuous pattern."

 

The 'Kool Aid' Fountain

 

Some say these lights made the water look like Kool Aid. A colorized post card of the fountain from the 1940s shows it at night and accentuates the Kool Aid effect. "The idea of colored lights was very much an idea of its place and time," Katherine Mulholland said. "It was Hollywood, after all."

 

But not all of the fountain's special effects were planned by the DWP. Glendale College Professor of Dance Lynn McMurrey grew up about a mile from the fountain. He remembers one particular Halloween:

 

We went down there trick or treating. Somebody filled the fountain with soap. When I came down there, Riverside Drive was covered with suds. The fountain was still splashing and the suds were up to the top of it. With the light shining on the soap suds it looked like somebody's fantasy.

 

The energy crisis of 1973-74 was grim for millions of Americans who waited in long lines and paid record prices for gasoline. But it was grimmer for the fountain. For a while, it was shut down. And for a long while after that, the water was turned on, but the lights weren't.

 

Today, the problem is aging equipment. The water no longer goes through a continuous cycle of patterns. No colored lights play on it at night. And sometimes it is simply, unceremoniously shut off.

 

"The tiles are in very bad shape," said Kuno Lill, a maintenance engineer with the DWP. He said that the fountain's water purification system, its electrical system and much of its underground plumbing will have to be replaced. Budget problems have deferred much of its maintenance.

 

He said the fountain is scheduled for overhaul and rebuilding within the next two years.

 

Writer's note: This article, one of an occasional series, is part of the Griffith Park History Project, an attempt to chronicle the park's long and remarkable life.

 

What memories do you have of Griffith Park? Suggestions? Questions? Criticisms?

 

Please call Mike Eberts at Glendale College 240-1000, Ext. 5352 (I have voice mail, so you can leave a message at any time.)

 

Write to, Mike Eberts, Griffith Park History Project, Glendale Community College, 1500 N. Verdugo Road, Glendale, CA 91208.

 

Text taken from

english.glendale.cc.ca.us/fountain.html

The Moon is the only natural satellite of Earth:

 

orbit: 384,400 km from Earth

diameter: 3476 km

mass: 7.35e22 kg

  

Called Luna by the Romans, Selene and Artemis by the Greeks, and many other names in other mythologies.

 

The Moon, of course, has been known since prehistoric times. It is the second brightest object in the sky after the Sun. As the Moon orbits around the Earth once per month, the angle between the Earth, the Moon and the Sun changes; we see this as the cycle of the Moon's phases. The time between successive new moons is 29.5 days (709 hours), slightly different from the Moon's orbital period (measured against the stars) since the Earth moves a significant distance in its orbit around the Sun in that time.

 

Due to its size and composition, the Moon is sometimes classified as a terrestrial "planet" along with Mercury, Venus, Earth and Mars.

 

The Moon was first visited by the Soviet spacecraft Luna 2 in 1959. It is the only extraterrestrial body to have been visited by humans. The first landing was on July 20, 1969 (do you remember where you were?); the last was in December 1972. The Moon is also the only body from which samples have been returned to Earth. In the summer of 1994, the Moon was very extensively mapped by the little spacecraft Clementine and again in 1999 by Lunar Prospector.

 

The gravitational forces between the Earth and the Moon cause some interesting effects. The most obvious is the tides. The Moon's gravitational attraction is stronger on the side of the Earth nearest to the Moon and weaker on the opposite side. Since the Earth, and particularly the oceans, is not perfectly rigid it is stretched out along the line toward the Moon. From our perspective on the Earth's surface we see two small bulges, one in the direction of the Moon and one directly opposite. The effect is much stronger in the ocean water than in the solid crust so the water bulges are higher. And because the Earth rotates much faster than the Moon moves in its orbit, the bulges move around the Earth about once a day giving two high tides per day. (This is a greatly simplified model; actual tides, especially near the coasts, are much more complicated.)

 

But the Earth is not completely fluid, either. The Earth's rotation carries the Earth's bulges slightly ahead of the point directly beneath the Moon. This means that the force between the Earth and the Moon is not exactly along the line between their centers producing a torque on the Earth and an accelerating force on the Moon. This causes a net transfer of rotational energy from the Earth to the Moon, slowing down the Earth's rotation by about 1.5 milliseconds/century and raising the Moon into a higher orbit by about 3.8 centimetres per year. (The opposite effect happens to satellites with unusual orbits such as Phobos and Triton).

 

The asymmetric nature of this gravitational interaction is also responsible for the fact that the Moon rotates synchronously, i.e. it is locked in phase with its orbit so that the same side is always facing toward the Earth. Just as the Earth's rotation is now being slowed by the Moon's influence so in the distant past the Moon's rotation was slowed by the action of the Earth, but in that case the effect was much stronger. When the Moon's rotation rate was slowed to match its orbital period (such that the bulge always faced toward the Earth) there was no longer an off-center torque on the Moon and a stable situation was achieved. The same thing has happened to most of the other satellites in the solar system. Eventually, the Earth's rotation will be slowed to match the Moon's period, too, as is the case with Pluto and Charon.

 

Actually, the Moon appears to wobble a bit (due to its slightly non-circular orbit) so that a few degrees of the far side can be seen from time to time, but the majority of the far side (left) was completely unknown until the Soviet spacecraft Luna 3 photographed it in 1959. (Note: there is no "dark side" of the Moon; all parts of the Moon get sunlight half the time (except for a few deep craters near the poles). Some uses of the term "dark side" in the past may have referred to the far side as "dark" in the sense of "unknown" (eg "darkest Africa") but even that meaning is no longer valid today!)

 

The Moon has no atmosphere. But evidence from Clementine suggested that there may be water ice in some deep craters near the Moon's south pole which are permanently shaded. This has now been reinforced by data from Lunar Prospector. There is apparently ice at the north pole as well.

 

The Moon's crust averages 68 km thick and varies from essentially 0 under Mare Crisium to 107 km north of the crater Korolev on the lunar far side. Below the crust is a mantle and probably a small core (roughly 340 km radius and 2% of the Moon's mass). Unlike the Earth, however, the Moon's interior is no longer active. Curiously, the Moon's center of mass is offset from its geometric center by about 2 km in the direction toward the Earth. Also, the crust is thinner on the near side.

 

There are two primary types of terrain on the Moon: the heavily cratered and very old highlands and the relatively smooth and younger maria. The maria (which comprise about 16% of the Moon's surface) are huge impact craters that were later flooded by molten lava. Most of the surface is covered with regolith, a mixture of fine dust and rocky debris produced by meteor impacts. For some unknown reason, the maria are concentrated on the near side.

 

Most of the craters on the near side are named for famous figures in the history of science such as Tycho, Copernicus, and Ptolemaeus. Features on the far side have more modern references such as Apollo, Gagarin and Korolev (with a distinctly Russian bias since the first images were obtained by Luna 3). In addition to the familiar features on the near side, the Moon also has the huge craters South Pole-Aitken on the far side which is 2250 km in diameter and 12 km deep making it the the largest impact basin in the solar system and Orientale on the western limb (as seen from Earth; in the center of the image at left) which is a splendid example of a multi-ring crater.

 

A total of 382 kg of rock samples were returned to the Earth by the Apollo and Luna programs. These provide most of our detailed knowledge of the Moon. They are particularly valuable in that they can be dated. Even today, more than 30 years after the last Moon landing, scientists still study these precious samples.

 

Most rocks on the surface of the Moon seem to be between 4.6 and 3 billion years old. This is a fortuitous match with the oldest terrestrial rocks which are rarely more than 3 billion years old. Thus the Moon provides evidence about the early history of the Solar System not available on the Earth.

 

Prior to the study of the Apollo samples, there was no consensus about the origin of the Moon. There were three principal theories: co-accretion which asserted that the Moon and the Earth formed at the same time from the Solar Nebula; fission which asserted that the Moon split off of the Earth; and capture which held that the Moon formed elsewhere and was subsequently captured by the Earth. None of these work very well. But the new and detailed information from the Moon rocks led to the impact theory: that the Earth collided with a very large object (as big as Mars or more) and that the Moon formed from the ejected material. There are still details to be worked out, but the impact theory is now widely accepted.

 

The Moon has no global magnetic field. But some of its surface rocks exhibit remanent magnetism indicating that there may have been a global magnetic field early in the Moon's history.

 

With no atmosphere and no magnetic field, the Moon's surface is exposed directly to the solar wind. Over its 4 billion year lifetime many ions from the solar wind have become embedded in the Moon's regolith. Thus samples of regolith returned by the Apollo missions proved valuable in studies of the solar wind.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

.

 

Some background:

The mighty Suchoj SuCh-1 started its life in early March 1943, when the Sukhoi OKB finished work on the design of a high-speed fighter with a unique powerplant arrangement. The aircraft was an all-metal low-wing mono­plane with conventional tail surfaces. The three-section wings had constant dihedral and basically trapezoidal planform; the sta­bilizers had zero dihedral.

 

Two Klimov M-107 water-cooled Vee-12 engines, each with a. take-off power of 1 ,600 hp (1,193 kW) and a maximum design power of 1,500 hp (1,119 kW) at 5,500 m (18,045 ft), were mounted in the center fuse­lage in a staggered-tandem arrangement: the front engine was offset to starboard and of the rear one to port. Thus, the total power was increased but the drag was the same as for a single-engined aircraft, which was expected to increase fight speed consider­ably. Consequently, the project was internally designated 'I-2M107', literally "Article powered by two M107 engines".

 

Furthermore, the left cylinder bank of the front engine and the right cylinder bank of the rear engine were disposed vertically, so that each engine had one set of exhaust stubs on top of the fuselage and one on the fuselage side. Both engines drove a single three ­blade tractor propeller of 4.0 m (13 tt 2 in) diameter via parallel extension shafts and a common reduction gearbox. Both water radiators were located side by side in a chin housing, while the oil coolers were buried in the wings. The total fuel capacity of the four tanks arranged in the center fuselage was 1,113 litres (244.86 Imp. gal).

 

Because of the power plant arrangement and the large ground angle (necessary to give adequate ground clearance for the large propeller) the cockpit was offset to port and placed ahead of the wing leading edge to provide better forward visibility on take-off and landing. The cockpit was protected by a bulletproof windscreen, a front armor plate and an armored backrest; the armor weight totaled 70kg (154Ib).

 

The main landing gear units with 800 x 280 mm (31.5x11 in) wheels retracted inwards into the wing roots and the 400 x 150 mm (15.7 x 5.9 in) tail wheel retracted aft. The fighter's armament consisted of two wing-mounted 12.7-mm Berezin UBS machine-guns firing outside the propeller disc and a single 20-mm ShVAK cannon fir­ing through the propeller hub*.

 

A full-scale mock-up was inspected in December 1943, and with German long range bombers threatening the Western front line as well as the lack of a fast and powerful fighters to intercept them (the earlier MiG-5 had turned out to be a disappointment, and Mikoyan's I-211/221 family if high altitude fighters also suffered from serious technical problems at that time), OKB Suchoj received an immediate go-ahead for further development of the SuCh-1, how the I-2M107 was now officially called, since Vladimir A. Chizhevskiy took lead of the project.

 

In the course of 1944 three prototypes went through a fast development program. While the aircraft itself was easy to handle, overheating problems and trouble with the gearbox for the two engines could only partly be rectified - esp. the power transmission should remain the SuCh-1s Achilles Heel.

 

Anyway, the Su-5 was ready for service introduction towards late 1944, and the powerful type was exclusively to be used as an interceptor. Several improvements had been made, compared to the prototypes: now two slightly more powerful Klimov VK-107A engines were used, which were better suited for high altitude operations, and the chin-mounted water cooler was considerably enlarged. The oil coolers had been re-designed and they were now placed under the wing roots.

 

The wing span had been extended by 6' and a bigger (now 4.3m diameter!), four-bladed propeller was added in order to improve performance at high altitude. No pressurized cabin was installed, but the cockpit received an extended glazing for better all-round field of vision.

 

Armament had also been augmented: now a Nudelman N-23 23mm cannon was firing through the propeller hub, and the number of UBS machine-guns in the wings was increased to four.

 

As initial duty experience was gathered, it became quickly clear that the firepower had to be augmented, so that the propeller-hub-mounted 23mm cannon was quickly replaced by a Nudelman-Richter NR-37 37mm cannon, and the four wing-mounted UBS machine guns were replaced by two 20-mm ShVAK cannons or even two Nudelman N-23 23mm cannons - the latter became the production standard from March 1945 on, even though the type's designation did not change.

 

Experience also showed that the overheating problem had been cured, but the complicated gear box tended to malfunction, esp. when full power was called for in aerial combat: high G forces took their toll and damaged the bearings, even warping the extension shafts and structural parts, so that some SuCh-1 were literally torn apart in mid-air.

 

The high torque powers of the large propeller also took their toll on handling: starting and landing was described as "hazardous", esp. when the fuel tanks were empty or in cross winds.

Consequently, SuCh-1 pilots were warned to engage into any dogfight or enter close combat with single-engined enemy fighters, and just focus on large enemy aircraft.

 

On the other side, the SuCh-1's powerful cannon armament made it a deadly foe: a single hit with the NR-37 cannon could down an aircraft, and its top speed of roundabout 700 km/h (435 mph) was more than enough for the Luftwaffe's heavy bomber types like the He 177.

 

Several engine and armament experiments were undertaken. For instance, at least one SuCh-1 was outfitted with a Nudelman-Sooranov NS-45 45mm cannon firing through the propeller hub, even a 57mm cannon was envisaged. Furthermore, one airframe was prepared to carry two Charomskiy M-30V 12 cylinder diesel engines, in order to produce a heavy long-range escort fighter (internally called I-2M30V).

In order to minimize the torque problems a contraprop arrangement with two three-bladed propellers and a diameter of only 3.6m was under development.

 

All in all only 120 of these powerful machines were built until the end of hostilities, as the feared mass attacks of German long range bombers did not materialize. as the Su-7 was complicated to operate and jet engines promised a far more efficient way of propulsion for high speeds, the type was already retired in 1947 and replaced by 1st generation jet fighters like the Yak-15 and MiG-9, which carried a similar armament, attained a better performance (except for the range) but weighed only half of the large and heavy SuCh-1.

.

 

General characteristics

Crew: One

Length: 11.75 m (38 ft 5 3/4 in)

Wingspan: 13.85 m (45 ft 3 1/4 in)

Height: 5.30 m (17 ft 4 in)

Empty weight: 5.250 kg (11.565 lb)

Max. take-off weight: 8.100 kg (17.840 lb)

 

Powerplant:

2× Klimov VK-107A liquid-cooled V12 engines with an output of 1.650 hp (1.210 kW) each at sea level and 900 hp (650 kW) at 8.300m (27.220 ft)

 

Performance:

Maximum speed: 720 km/h (447 mph) at height, clean configuration

Range: 750 km (465 mi)

Service ceiling: 11.700 m (38.400 ft)

Rate of climb: 876 m/mim (2.850 ft/min)

 

Armament:

1× Nudelman-Richter NR-37 37mm cannon with 60 RPG, firing through the propeller hub

2× Nudelman N-23 23mm cannons with 120 RPG in the wings

Many different cannon and machine gun arrangements coulod be found, though.

 

*Information about the conceptual Suchoj I-2M107 was primarily gathered from the book 'OKB Suchoj', written by Yefim Gordon & Dmitriy Komissarov; Hersham (UK), 2010.

.

 

The kit and its assembly (a long story!):

This abomination of an aircraft is/was real, even though the I-2M107 was never built – the fictional name Suchoj-Chizhevskiy SuCh-1 was actually chosen because I could not find any plausible Su-X code for a WWII fighter. Vladimir A. Chizhevskiy actually joined the Suchoj OKB in mid WWII, so I deemed this alternative to be plausible.

 

I had this on the agenda for a long time, but the horrors of kitbashing kept me from building it - until now. The current Anthony P memorial Group Build (for the deceased fellow member at whatifmodelers.com, RIP) was a good motivation to tackle this brute thing. Fortunately, I already had some major ingredients in store, so work could start asap.

 

From that, anything else was improvised from the scrap box, and with only a three side view of the I-2M107 as guidance. It became a true Frankenstein creation with...

 

● Fuselage and inner wings from the (horrible) NOVO Attacker

● Wings from an Italeri Fw 190 D-9 attached to them

● Nose is a resin Griffon from an Avro Lincoln conversion set from OzMods

● Tail cone is a radar nose from an F-4J Phantom II

● Tail fin is a horizontal stabilizer from a Matchbox SB2C Helldiver

● Vertical stabilizers come from a Matchbox Me 410

● Oil coolers are modified front landing gear wells from two Revell G.91 kits

● Cockpit hood comes from a Revell P-39 Airacobra

● Landing gear comes from an Italeri Fw 190 D-9, covers were modified/improvised

● Main wheels belong to a MPM Ryan Dark Shark

● Tail wheel belongs to a Matchbox Harrier

● The propeller was scratched, IIRC from a Grumman Hellcat drop tank front and blades from an Airfix A-1 Skyraider. Inside, a metal axis was mounted.

.

 

Work started with the fuselage and the wings as separate segments.

 

The Attacker fuselage lost its fin and the cockpit and air intakes were simply cut away, just as the tail pipe. The resin Griffon was slightly shortened at the front, but more or less directly attached to the fuselage, after I had cut out openings for the four rows of exhaust nozzles.

Then, the new tail cone was glued onto the end and the original fairings for the Attacker's stabilizer cut away and sanded even - anything had to be made new.

 

The wings were a bit tricky. I had hoped to use the Attacker's OOB wings, but these were not only much too small and did not have the proper shape, they also lacked landing gear wells!

 

Finding a solution was not easy, and I had to improvise. After some trials I decided to cut the Attacker wing span at about the width where the guns are located, and then add Fw 190 wings.

The depth would be fine, even though the Fw 190 wings were a bit thicker, and they offered a leading edge kink which was good for the original and characteristic I-2M107's wing root extensions. The latter were sculpted from a 6mm thick core or styrene sheet, added to the Attacker parts' leading edge, and the rest, as well as the lacking Attacker wing's thickness, sculpted with 2C and later NC putty.

 

Furthermore I cut out and sculpted landing gear wells, another challenging, since these had to cover the Attacker/Fw 190 parts' intersection! LOTS of putty work, sanding and shaving, but as a benefit I was able to use the Attacker kit's original wing/fuselage joints. Effectively, my placement turned out to be a bit far outside, so the track appears too wide - the price to pay when you work on single parts. Anyway, I left it was it turned out, as a major correction at a late working stage would mean to tear anything apart again...

 

Back to the nose: adding the propeller and the cockpit into the massive nose was the next working station. The propeller had to be huge, and also needed a rather big spinner. A contraprop was ruled out, even though it would have looked great here. But eventually I settled for a scratch-built thing, made from a teardrop-shaped drop tank front onto which the four blades from a A-1 Skyraider were glued. Probably the biggest prop I have ever put onto a 1:72 scale model! Since the resin nose was massive, drilling a hole and adding a metal axis to the propeller was enough.

 

With that in place I started carving out a cockpit opening - it worked better and easier than expected with a mini drill and a coarse shaving head! The opening is still rather small, a seat and a pilot hardly fit, but it works - I found a rather smallish pilot figure, and added a seat and some other small details from the scrap box, just to have something inside.

 

For a canopy I found a very old (30 years, I guess...) clear part from a Revell P-39 Airacobra in the scrap box, which was almost perfect in shape and width. It was a bit blind and stained with ancient enamel paint, but some wet sanding and serious polishing almost got it back to translucent status. Since I would not open the cockpit, this was a sufficient solution.

 

The asymmetrical cockpit opening was, in an initial step, faired with styrene strips, for a rough outline, and then sculpted with 2C and later NC putty, blending it into the rest of the fuselage.

 

For the tail surfaces, the SB2C stabilizer was cut away at its base - it is not a bad donation piece, its shape and rudder come pretty close to the I-2M107's original design!

The stabilizers I used on my kitbash come from a Me 410, and their leading edge was a cut away so that the sweep angle would be a bit larger. They lack depth, compared to the I-2M107's original design, but since the wings have become more slender, too, I think it's a good compromise, and the best what I had at hand in the spares stash.

 

Finally, and before detail work could start, the wings were attached to the fuselage. I eventually set them back by ~6mm, so that the new, extended leading edge would match the respective fairing on the fuselage. The resulting gap at the trailing edge was, again, filled with 2C and NC putty.

 

A personal change was a different oil cooler arrangement. The original location was to be in the wings' leading edge, just in front of the landing gear wells - but that appeared a bit doubtful, as I could not find a plausible solution where the exit for the air would be? Consequently, and in order to avoid even more messy putty sculpting on the wings, I decided to re-locate the oil coolers completely, into shallow, tunnel-like fairings under the wing roots, not unlike the radiator arrangement on a Spitfire or Bf 109.

 

In order to check the surface quality I decided to add a coat of grey primer, once the fuselage/wing segments had been connected. This showed only minor flaws, but made another turn with NC putty and wet sanding necessary.

 

Now it was time for finishing touches, e .g. mounting the landing gear, completing the cockpit and adding exhaust stubs - cut individually from HO scale model railroad roof tiles and inserted into the four fuselage fairings.

 

The canopy was fixed into place with white glue, which also helped closing some small gaps.

.

 

Painting and markings:

While the I-2M107 looks odd, to say the least, I wanted to keep the paint scheme rather simple and quasi-authentic. I went for a pale grey/green camouflage, used e. g. on late war Yakovlev Yak-3 fighters.

 

Basic colors are Humbrol 31 (Slate Grey, it has a very greenish, even teal, hue), ModelMaster 1740 (Dark Gull Grey, FS 36231) and Humbrol 167 (Barley Grey) for the lower sides with a wavy waterline. Since only marginal surface details were left over, I decided to fake panels and panel lines with paint.

Panels were simulated with lighter shades of the basic tones (RLM 62 from ModelMaster, Humbrol 140 and 127 below), panel lines were painted with highly thinned grey acrylic paint and a special brush - in German it's called a 'Schlepppinsel', it's got very long hairs and is also used to paint scallops on car models, and similar things are used for real car tuning/custom paintwork, too.

Sure, the painted panel lines are a bit rough, but I did not want to risk any damage through manual engraving on the rather delicate mixed-media surface of the kitbashed model. For an overall look or first impression it's very good, though.

 

As 'highlights' I added a white spinner and half of the fin was painted white, too.

 

The decals were puzzled together. The flashes and the tactical code number come from a Hobby Boss La-7, the Red Stars, IIRC, belong to a vintage MiG-21F from Hasegawa. The "Rodinu" slogan actually belongs to a 1:35 Soviet Tank decals set.

 

Finally, after some additional dry painting with light grey, some oil stains around the engines and coolers and soot stains at the exhaust stubs and guns (painted, plus some grinded graphite, as it yields a nice, metallic shimmer that looks like oil or burnt metal), everything was sealed under a coat of matt acrylic varnish.

  

If it had been built, the Suchoj I-2M107 must have been an impressive aircraft - it was bigger than a P-47 Thunderbolt or an A-1 Skyraider, and one can only wonder how its field performance would have been?

Similar concepts had been underway in UK, too, e. g. for a heavy naval attack aircraft, but the I-2M107 with its asymmetrical cockpit and engine arrangement were unique. A worthy whif, even if some details like the landing gear or the borrowed nose section are not 100% 'correct'.

 

Diameter 5 mm. Operculum open.

Tergoscutal flaps have a dark mark at 1: the carinal end, often concealed when valves not fully open; 2: the micropyle; 3: mid-way between the micropyle and rostral end; and 4: the rostral end.

 

Full SPECIES DESCRIPTION at: flic.kr/p/by5qTT

Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/

   

        International    Description Hematite is a solid grey colour with a lovely luster to the gem. Each gem stone is approximately 11 mm X 6.5 mm X 4 mm and had a flat back and rounded front. The acrylic beads are approximately 4.5 mm in diameter. The bracelet is strung on two

 

spoilmesilly.com.au/?product=hematite-gem-acrylic-beaded-...

With a diameter of about 60,000 light-years, the Triangulum galaxy is the third largest member of the Local Group of galaxies. It may be a gravitationally bound companion of the Andromeda Galaxy. Triangulum may be home to 40 billion stars, compared to 400 billion for the Milky Way, and 1 trillion stars for Andromeda. The Triangulum Galaxy is a spiral galaxy approximately 3 million light-years (ly) from Earth in the constellation Triangulum. It is catalogued as Messier 33 or NGC 598, and is sometimes informally referred to as the Pinwheel Galaxy, a nickname it shares with Messier 101. The Triangulum Galaxy is the third-largest member of the Local Group of galaxies, which includes the Milky Way, the Andromeda Galaxy and about 44 other smaller galaxies. It is one of the most distant permanent objects that can be viewed with the naked eye.

 

The galaxy is the smallest spiral galaxy in the Local Group and it is believed to be a satellite of the Andromeda Galaxy due to their interactions, velocities and proximity to one another in the night sky.00 billion for the Milky Way, and 1 trillion stars for Andromeda.

 

The disk of Triangulum has an estimated mass of (3-6) × 109 solar masses, while the gas component is about 3.2 × 109 solar masses. Thus the combined mass of all baryonic matter in the galaxy may be 1010 solar masses. The contribution of the dark matter component out to a radius of 55×103 ly (17 kpc) is equivalent to about 5 × 1010 solar masses.[Wikipedia]

 

10 x 8 minute exposures at 400 ISO

7 x dark frames

11 x flat frames

21 x bias/offset frames (subtracted from flat frames only)

 

Guided with PHD

Processed in Nebulosity and Photoshop

 

Equipment

Celestron NexStar 127 SLT

GoTo AltAz mount with homemade wedge

Orion 50mm Mini Guide Scope

via

 

Vendor: Creative Wall Clock

Type:

Price: 39.90

 

Type:Wall Clocks;Model Number:MZGZ-003;Style:Modern;Material:Bamboo & Wooden;Motivity Type:Quartz;Display Type:Needle;Length:260 mm;Diameter:30 cm;Pattern:Abstract;Applicable Placement:Living Room;Feature:Antique Style;Combination:Separates;Shape:Geometric;Brand Name:The Vinyl Clock;Width:30 cm;Form:Single Face;Body Material:Wood;Body Material:Wood;Wall Clock Type:Wood;

 

Honeycomb Wall Clock

   

Time sweetly flies when you're watching it pass on this nature-inspired clock. Combines the geometric beauty of honeycomb with the human innovation of laser-cutting technology. The delicate, hexagonal lattice is created by precision-cutting decorative plywood

 

A single, laser-cut honeybee rests in the 12 o'clock spot. The clock adds a burst of cheery sweetness without taking up much wall space, and makes a buzz-worthy addition to your kitchen, sun room or office.

 

****BASIC INFORMATIONS****

 

Size -30cm (12") x 26 cm (10 5/8")

Thickness - 5 mm (1/5 ")

Clock colour - natural wood

 

Please keep in your mind that wood is a natural material and therefore all wooden clocks are little bit different in color and wood pattern; each clock is a unique piece of wood.

Laser cutting the designs into the plywood give each piece an unique smoky smell!

 

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Maquinaria De Reloj De Acero 28 - 10

17 Rubis Como Rodamientos Anti Friccion Y Desgaste

Diámetro De Maquinaria 23 Milimetros

 

Steel Machine 28 to 10

Anti Friction Bearings And Wear 17 Jewels

23 Millimeters Diameter Machine

"The low, round Kiva, forty feet in diameter, built at the base of the Watchtower at Desert View, lies half buried in its foundation of green stained Canyon boulders. In all details it reproduces the prehistoric Kiva or ceremonial chamber, except for the introduction of great windows overlooking the magnificent panorama of Canyon and Desert. Built for the shelter and entertainment of the traveler, it affords a most comfortable and fascinating lounge room."

 

One of 10 Grand Canyon postcards from paintings by Gunnar Widforss published in 1932 by Fred Harvey.Grand Canyon National Park Museum Collection, P.O. Box 129, Grand Canyon, AZ 86023

Reedham Swing Bridge was built in 1905 to replace an existing bridge over the River Yare.

 

The bridge rests on two end piers and a central pivot pier made of brick supported by timber piles. This pier is 27ft 6in in diameter and supports the 10in diameter central pivots when the bridge is fixed for railway traffic.

The three wrought iron girders that bear the live load are 139ft long, and rotate on 16in diameter cast steel wheels. The load of the open bridge is borne by two truss girders.

 

It is a charming East Anglian anachronism in our modern 21st centaury railway world!

 

www.engineering-timelines.com/scripts/engineeringItem.asp...

The Dome

 

A vertical section of the dome of the Main Reading Room would show an exact half circle, with a diameter of 100 feet. The dome is of stucco, and applied to a framework of iron and steel, filled in with terra cotta. Although it appears to rest upon the deep upper entablature, it really springs immediately from the eight arches resting upon the great piers. The entablature, as will be seen on close inspection, bears no part in the construction. It is projected so far forward from the dome that one may easily walk between the two.

 

The entablature is about seven feet high, with a richly molded architecture and a heavy projecting corners. The ground of the frieze is gilt, with a relief ornament in white of eagles standing upon hemispheres and holding in their beaks a heavy garland of laurel. Over the north, south, east, and west arches are two female figures, the work of Philip Martiny, represented as seated upon the architrave molding and supporting a heavy cartouche—another instance of the emphasis that the architect has so often placed upon the four main axes of the building.

 

The Stucco Ornamentation

 

The dome is so simply planned that a description of its main features may be given in a very brief space. The surface is filled with a system of square coffers. The ornamentation of the body of the dome is in arabesque. The eight ribs that mark off the dome into compartments or reach divided into two by a band of gilded ornament representing a guilloche. The coffers diminish in size from 4½ feet square at the bottom to 2½ feet at the top. The total number of coffers is 320—or 40 in each compartment, and in each horizontal row, and eight in each vertical row. The ground of the coffers is blue, sky blue, as if one were really looking out into the open air—and therefore the color traditionally used in coffer in. To give sparkle and brilliancy, many shades and kinds of blue are used, the darker and heavier at the bottom, and the lighter and area are toward the top. The transition is so gradual and natural that the eye does not perceive any definite change, but only a generally increased vividness. The border moldings of the coffers are cream-colored—old ivory is the usual term—strongly touched with gold, and in the center of each is a great gold rosette.

 

Although the purpose of the dome arabesque is primarily to give an agreeable impression of light and shade, the individual figures of which it is composed are nearly as interesting a subject of study is the general effect of the whole. The variety of the figures is almost bewildering—lions’ heads, seahorses, dolphins, urns, cartouche’s, griffons, shells, storks, caryatids, tridents, eagles, cherubs, half figures, genii—altogether something like forty-five principal designs, interwoven with very many smaller but no less beautiful pieces of ornament. They all are adapted from Renaissance models of the best and purest period and are combined with the utmost spirit and harmony in an arabesque whose every portion has equal artistic value. No single figure catches the eye; broad horizontal and vertical bands of decoration, gradually diminishing as they approached the top, and circle and ascend the dome, each with its “note” of arrangement and design, but all cunningly united to form an indisputable whole, everywhere balanced and restrained.

 

Edwin Howland Blashfield’s Paintings

 

The position of Edwin Howland Blashfield’s decorations in the collar and lantern of the dome is the noblest and most inspiring in the Library. They are literally and obviously the crowning glory of the building and put the final touch on the whole decorative scheme of the interior. The visitor will see how, without them, not a painting in the building would seem to remain solidly and easily in its place, for they occupy not only the highest but the exact central point of the Library, to which, in a sense, every other is nearly relative.

 

Blashfield was almost certainly drawn to select some subject as he has here chosen: the Evolution of Civilization, the records of which it is the function of a great library to gather and preserve.

 

The ceiling of the lantern is sky and air, against which, as a background, floats the beautiful female figure representing Human Understanding, lifting her veil and looking upward from Finite Intellectual Achievement (typified in the circle of figures and the collar) to that which is beyond; in a word, Intellectual Progress looking upward and forward. She is attended by two cherubs; one holds the book of wisdom and knowledge, the other seems, by his gesture, to be encouraging those needs to persist in their struggle toward perfection.

 

The decoration of the collar consists of a ring of twelve seated figures, male and female, ranged against a wall of mosaic patterning. They are of colossal size, measuring, as they sit, about ten feet in height. They represent the twelve countries, or epics, which have contributed most to the development of present-day civilization in this country. Beside each is a tablet, decorated with palms, on which is inscribed the name of the country typified, and below this, on a continuous banderole or streamer, is the name of some cheese or typical contribution of that country to the sum of human excellence. The figures follow one another in chronological order, beginning, appropriately enough, at the east, the East being the cradle of civilization. List is as follows: Egypt, typifying Written Records; Judea, Religion; Greece, Philosophy; Rome, Administration; Islam, Physics; The Middle Ages, Modern Languages; Italy, the Fine Arts; Germany, the Art of Printing; Spain, Discovery; England, Literature; France, Emancipation; and America, Science.

 

Each figure is winged, as representing an ideal, but the wings, which overlapped regularly throughout, serve mainly to unite the composition in the continuous whole and in no case have been allowed to hamper the artist in his effort to make each figure the picture of a living, breathing man or woman. Four of the twelve figures, it will be observed, stand out more conspicuously than the rest because of the lighter tone of their drapery: Egypt, Rome, Italy, and England. They occupy respectively the East, South, West, and North points in the decoration and furnish another instance of the stress that has been laid, throughout the Library, upon the four cardinal points of the compass that governed the axial lines of the building and that, in turn, have been enriched and dignified in the final decorative scheme of the interior. Each of these axial figures is painted in a more rigid attitude than those beside it informs, as will be noticed, the center of a triad, or group of three, each of flanking figures leaning more or less obviously toward it. It should be noted that there was no intention on the part of the painter to magnify the importance of before figures thus represented over any of the others. The emphasis of color is solely for decorative purposes. The arrangement being chronological, Blashfield was unable to exercise much control over the order in which each figure should occur and still retain his original selection of countries.

 

Egypt is represented by a male figure clad in the loincloth and with lappets so familiar in the ancient monuments. The idea of Written Records is brought up by the tablet he supports with his left hand, which is inscribed in hieroglyphics the cartouche or personal seal of Mena, the first recorded Egyptian king, and by the case of books at his feet, which is filled with manuscript roles of papyrus, the Egyptian paper. Besides the idea of Writing and Recording, Blashfield brings out the fact that the Egyptians were among the first doctrine of the immortality of the soul. The figure holds in the right hand the Tau, or cross with a ring head, the emblem of life both in this world and beyond; and on the tablet behind his feet is the winged ball, the more familiar symbol of the same idea.

 

Judea is shown as a woman lifting her hands in an ecstatic prayer to Jehovah. The over garment that she wears falls partly away and discloses the ephod, which was investment borne by the high priests, ornamented with a jeweled breastplate and with shoulder clasps set in gold, which were engraved the names of the Twelve Tribes of Israel. On the face of the stone pillars set beside her is inscribed, in Hebrew characters, the injunction, as found in Leviticus 19:18: “Thou shalt love thy neighbor as thyself”—a sentence selected as being perhaps the noblest single text contributed by the Jewish religion to the system of modern morality. In her lap is a scroll containing, presumably, a portion of the Scriptures; and that her feet is a censer, typical of the Hebrew ritualism.

 

The figure of Greece is distinctively suggestive, so far as attitude drapery are concerned, one of the beautiful little Tanagra figures of terra cotta—so called from the ancient Greek town in which the first discovered—which are so familiar to students of Greek art. A bronze lamp is set beside her, and in her lap is a scroll—the emblems of wisdom. Her head is crowned with a diadem, perhaps a reference to the City of the Violet Crown, Athens, the Mother of Philosophy.

 

Rome, the second axial figure, where’s the armor of a centurion, or captain in a legion. A lion’s skin, the mark of a standard-bearer, is thrown over him, the head covering the top of his casque. The whole conception is that of the just but inexorable administration of Rome founded upon the power of its arms. One foot is planted upon the lower drum of a marble column, signifying stability. His right arm rests upon the fasces, or bundle of rods, the typical emblem of Roman power and rule. In his right hand, he holds the baton of command.

 

Islam is an Arab, standing for the Moorish race, which introduced into Europe not only an improved science of physics—as here used by Blashfield in its older and less restricted sense—but of mathematics and astronomy also. His foot rests upon a glass retort, and he is turning over the leaves of a book of mathematical calculations.

 

The term Middle Ages, represented by the female figure that comes next in the decoration, is usually understood to mean the epic beginning with the dissolution of the Western Roman Empire in 455 and ending with the discovery of America in 1492. No single country is here indicated, for Europe was throughout that. In a state of flux, so to say, during which the principal modern languages were finally involved from the Latin and Teutonic tongues. But it was an epic notable for many other things, also. The figure typifying the epic is distinguished by an expression at once graven passionate, and has a sword, casque, and cuirass, emblematic of the great institution of Chivalry; a model of a cathedral, standing for Gothic architecture, which was brought to its greatest perfection in these thousand years; and a papal tiara and the keys of St. Peter, signifying medieval devotion and the power of the church.

 

The next figure, Italy—the Italy of the Renaissance—is shown with symbols of four of the Fine Arts that she represents: Painting, Sculpture, Architecture, and Music. She holds a pallet in her left hand and with the brush in her right seems to lay another stroke of color on her canvas. To her left is a statuette after Michelangelo’s celebrated David, in Florence. At her feet is a Renaissance capital; and leaning against the wall of violin, at once the typical musical instrument and one the Italians excelled in manufacturing.

 

Germany is the printer, turning from his press—a hand press, accurately copied from early models—to examine the proof sheet he has just pulled. His right foot is placed upon a pile of sheets already corrected, and a roller for inking lies convenient to his hand.

 

Spain is the sixteenth-century Spanish adventurer. He wears a steel morion on his head and is clad in a leathern jerkin. Holding the tiller of the ship in his right hand, he seems to be watching for land to appear in the seat. Behind him is a globe of the earth, and that his feet a model of a caravel, the sort of ship in which Columbus sailed on his voyages, is introduced.

 

England wears the ruff and full sleeves of the time of Elizabeth—the era when English literature, both poetry and prose, was at its peak. She is crowned with laurel—the reward of literature—and bears in her lap an open book of Shakespeare’s plays, the right-hand page with a for simile of the title page of the first edition of A Midsummer Night’s Dream, dated 1600.

 

France, standing for emancipation and the great revolutionary upheaval of the 18th century, is dressed in a characteristic garb of the First Republic: a jacket with lapels, a tricolor scarf, and a liberty cap with a tricolor cockade. She sits on a cannon and carries a drum, a bugle, and a sword—emblems of her military crusade on behalf of liberty. In her left hand, she displays a scroll bearing the words Les Droits de l’Homme, the famous Declaration of the Rights of Man adopted by the French Assembly in 1789.

 

The twelfth and last figure, bringing us once more round to the east, is that of America—represented as an engineer, in the garb of the machine shop, sitting lost in thought over a problem of mechanics he has encountered. He leans his chin upon the palm of one hand, while the other holds the scientific book that he has been consulting. In front of him as an electric dynamo, recalling the part that the United States has taken in the advancement of electrical science.

 

On the base of the dynamo Blashfield has signed his work in an inscription that recalls also the name of the artist who assisted him and laying it upon the plaster: “These decorations were designed and executed by Edwin Howland Blashfield, assisted by Arthur Reginald Willet, A.D. MDCCCLXXXXVI.”

 

The visitor will perhaps have been a little perplexed by the familiar appearance of some of the faces in Blashfield’s decoration. It is an interesting fact that in several cases Blashfield has introduced a resemblance, more or less distinct, to the features of some real person to give greater variety and, above all, greater vitality to his figures. The persons chosen were selected because the character of their features seemed to him peculiarly suited to the type that he wished to represent. In the case of Abraham Lincoln—the figure of America—and of General Casey—Germany—the choice was fitting for other reasons. Among the female figures, the Middle Ages is Mrs. De Navarro (Mary Anderson), and England, Ellen Terry. The faces of Italy and Spain are from sketches made from Amy Rose, a young sculptor in New York, and William Bailey Faxon, the painter, respectively. France suggests the features of the artist’s wife. Throughout, however, it must be remembered that, to use Blashfield’s own words, “no portraiture has been attempted, but only characterization.”

The jackfruit (Artocarpus heterophyllus), also known as jack tree, is a species of tree in the fig, mulberry, and breadfruit family (Moraceae). Its original distribution range is unknown but most authors place its center of origin to be within the region between the Western Ghats of southern India to the rainforests of Borneo.

 

The jackfruit tree is well-suited to tropical lowlands, and its fruit is the largest tree-borne fruit, reaching as much as 55 kg in weight, 90 cm in length, and 50 cm in diameter. A mature jackfruit tree can produce about 100 to 200 fruits in a year. The jackfruit is a multiple fruit, composed of hundreds to thousands of individual flowers, and the fleshy petals are eaten.

 

Jackfruit is commonly used in South and Southeast Asian cuisines. The ripe and unripe fruit and seeds are consumed. The jackfruit tree is a widely cultivated throughout tropical regions of the world. It is the national fruit of Bangladesh and Sri Lanka, and the state fruit of the Indian states of Kerala and Tamil Nadu.

 

ETYMOLOGY AND HISTORY

The word "jackfruit" comes from Portuguese jaca, which in turn is derived from the Malayalam language term chakka (Malayalam chakka pazham). When the Portuguese arrived in India at Kozhikode (Calicut) on the Malabar Coast (Kerala) in 1498, the Malayalam name ചക്ക (cakka) was recorded by Hendrik van Rheede (1678–1703) in the Hortus Malabaricus, vol. iii in Latin. Henry Yule translated the book in Jordanus Catalani's (f. 1321–1330) Mirabilia descripta: the wonders of the East. This term is in turn derived from the Proto-Dravidian root kā(y) ("fruit, vegetable").

 

The common English name "jackfruit" was used by physician and naturalist Garcia de Orta in his 1563 book Colóquios dos simples e drogas da India. Centuries later, botanist Ralph Randles Stewart suggested it was named after William Jack (1795–1822), a Scottish botanist who worked for the East India Company in Bengal, Sumatra, and Malaya.

 

The jackfruit was domesticated independently in South Asia and Southeast Asia, as evidenced by the fact that the Southeast Asian names for the fruit are not derived from the Sanskrit roots. It was probably first domesticated by Austronesians in Java or the Malay Peninsula. The word for jackfruit in Proto-Western-Malayo-Polynesian is reconstructed as *laŋkaq. Modern cognates include Javanese, Malay, Balinese, and Cebuano nangka; Tagalog, Pangasinan, Bikol and Ilocano langka; Chamorro lanka or nanka; Kelabit nakan; Wolio nangke; Ibaloi dangka; and Lun Dayeh laka. Note, however, that the fruit was only recently introduced to Guam via Filipino settlers when both were part of the Spanish Empire.

 

BOTANICAL DESCRIPTION

SHAPE, TRUNK AND LEAVES

Artocarpus heterophyllus grows as an evergreen tree that has a relatively short trunk with a dense treetop. It easily reaches heights of 10 to 20 meters and trunk diameters of 30 to 80 centimeters. It sometimes forms buttress roots. The bark of the jackfruit tree is reddish-brown and smooth. In the event of injury to the bark, a milky juice is released.

 

The leaves are alternate and spirally arranged. They are gummy and thick and are divided into a petiole and a leaf blade. The petiole is 1 to 3 inches long. The leathery leaf blade is 7 to 15 inches long, and 3 to 7 inches wide and is oblong to ovate in shape.

 

In young trees, the leaf edges are irregularly lobed or split. On older trees, the leaves are rounded and dark green, with a smooth leaf margin. The leaf blade has a prominent main nerve and starting on each side six to eight lateral nerves. The stipules are egg-shaped at a length of 1.5 to 8 centimeters.

 

FLOWERS AND FRUIT

The inflorescences are formed on the trunk, branches or twigs (caulifloria). Jackfruit trees are monoecious, that is there are both female and male flowers on a tree. The inflorescences are pedunculated, cylindrical to ellipsoidal or pear-shaped, to about 10-12 centimeters long and 5-7 centimeters wide. Inflorescences are initially completely enveloped in egg-shaped cover sheets which rapidly slough off.

 

The flowers are very small, there are several thousand flowers in an inflorescence, which sit on a fleshy rachis . The male flowers are greenish, some flowers are sterile. The male flowers are hairy and the perianth ends with two 1 to 1.5 millimeters membrane. The individual and prominent stamens are straight with yellow, roundish anthers. After the pollen distribution, the stamens become ash-gray and fall off after a few days. Later all the male inflorescences also fall off. The greenish female flowers, with hairy and tubular perianth, have a fleshy flower-like base. The female flowers contain an ovary with a broad, capitate or rarely bilobed scar. The blooming time ranges from December until February or March.

 

The ellipsoidal to roundish fruit is a multiple fruit formed from the fusion of the ovaries of multiple flowers. The fruits grow on a long and thick stem on the trunk. They vary in size and ripen from an initially yellowish-greenish to yellow, and then at maturity to yellowish-brown. They possess a hard, gummy shell with small pimples surrounded with hard, hexagonal tubercles. The very large and variously shaped fruit have a length of 30 to 100 centimeters and a diameter of 15 to 50 centimeters and can weigh 10-25 kilograms or more.

 

The fruits consist of a fibrous, whitish core (rachis) about 5-10 centimeters thick. Radiating from this are many 10 centimeter long individual fruits. They are elliptical to egg-shaped, light brownish achenes with a length of about 3 centimeters and a diameter of 1.5 to 2 centimeters.

 

There may be about 100-500 seeds per fruit. The seed coat consists of a thin, waxy, parchment-like and easily removable testa (husk) and a brownish, membranous tegmen. The cotyledons are usually unequal in size, the endosperm is minimally present.

 

The fruit matures during the rainy season from July to August. The bean-shaped achenes of the jackfruit are coated with a firm yellowish aril (seed coat, flesh), which has an intense sweet taste at maturity of the fruit. The pulp is enveloped by many narrow strands of fiber (undeveloped perianth), which run between the hard shell and the core of the fruit and are firmly attached to it. When pruned, the inner part (core) secretes a very sticky, milky liquid, which can hardly be removed from the skin, even with soap and water. To clean the hands after "unwinding" the pulp an oil or other solvent is used. For example, street vendors in Tanzania, who sell the fruit in small segments, provide small bowls of kerosene for their customers to cleanse their sticky fingers.

 

An average fruit consists of 27% edible seed coat, 15% edible seeds, 20% white pulp (undeveloped perianth, rags) and bark and 10% core.

 

The number of chromosomes is 2n = 56.

 

AS FOOD

Ripe jackfruit is naturally sweet, with subtle flavoring. It can be used to make a variety of dishes, including custards, cakes, or mixed with shaved ice as es teler in Indonesia or halo-halo in the Philippines. For the traditional breakfast dish in southern India, idlis, the fruit is used with rice as an ingredient and jackfruit leaves are used as a wrapping for steaming. Jackfruit dosas can be prepared by grinding jackfruit flesh along with the batter. Ripe jackfruit arils are sometimes seeded, fried, or freeze-dried and sold as jackfruit chips.

 

The seeds from ripe fruits are edible, and are said to have a milky, sweet taste often compared to Brazil nuts. They may be boiled, baked, or roasted. When roasted, the flavor of the seeds is comparable to chestnuts. Seeds are used as snacks (either by boiling or fire-roasting) or to make desserts. In Java, the seeds are commonly cooked and seasoned with salt as a snack. They are quite commonly used in curry in India in the form of a traditional lentil and vegetable mix curry.

 

AROMA

Jackfruit has a distinctive sweet and fruity aroma. In a study of flavour volatiles in five jackfruit cultivars, the main volatile compounds detected were ethyl isovalerate, propyl isovalerate, butyl isovalerate, isobutyl isovalerate, 3-methylbutyl acetate, 1-butanol, and 2-methylbutan-1-ol.

 

A fully ripe and unopened jackfruit is known to "emit a strong aroma", with the inside of the fruit described as smelling of pineapple and banana. After roasting, the seeds may be used as a commercial alternative to chocolate aroma.

 

NUTRITIONAL VALUE

The flesh of the jackfruit is starchy and fibrous and is a source of dietary fiber. The pulp is composed of 74% water, 23% carbohydrates, 2% protein, and 1% fat. In a 100-g portion, raw jackfruit provides 400 kJ (95 kcal) and is a rich source (20% or more of the Daily Value, DV) of vitamin B6 (25% DV). It contains moderate levels (10-19% DV) of vitamin C and potassium, with no other nutrients in significant content.

 

The jackfruit also provides a potential part of the solution for tropical countries facing problems with food security, such as several countries of Africa.

 

CULINARY USES

The flavor of the ripe fruit is comparable to a combination of apple, pineapple, mango, and banana. Varieties are distinguished according to characteristics of the fruit flesh. In Indochina, the two varieties are the "hard" version (crunchier, drier, and less sweet, but fleshier), and the "soft" version (softer, moister, and much sweeter, with a darker gold-color flesh than the hard variety). Unripe jackfruit has a mild flavor and meat-like texture and is used in curry dishes with spices in many cuisines. The skin of unripe jackfruit must be peeled first, then the remaining jackfruit flesh is chopped in a labor-intensive process into edible portions and cooked before serving.

 

The cuisines of many Asian countries use cooked young jackfruit. In many cultures, jackfruit is boiled and used in curries as a staple food. The boiled young jackfruit is used in salads or as a vegetable in spicy curries and side dishes, and as fillings for cutlets and chops. It may be used by vegetarians as a substitute for meat such as pulled pork. It may be cooked with coconut milk and eaten alone or with meat, shrimp or smoked pork. In southern India, unripe jackfruit slices are deep-fried to make chips.

 

SOUTH ASIA

In Bangladesh, the fruit is consumed on its own. The unripe fruit is used in curry, and the seed is often dried and preserved to be later used in curry. In India, two varieties of jackfruit predominate: muttomvarikka and sindoor. Muttomvarikka has a slightly hard inner flesh when ripe, while the inner flesh of the ripe sindoor fruit is soft.

 

A sweet preparation called chakkavaratti (jackfruit jam) is made by seasoning pieces of muttomvarikka fruit flesh in jaggery, which can be preserved and used for many months. The fruits are either eaten alone or as a side to rice. The juice is extracted and either drunk straight or as a side. The juice is sometimes condensed and eaten as candies. The seeds are either boiled or roasted and eaten with salt and hot chilies. They are also used to make spicy side dishes with rice. Jackfruit may be ground and made into a paste, then spread over a mat and allowed to dry in the sun to create a natural chewy candy.

 

SOUTHEAST ASIA

In Indonesia and Malaysia, jackfruit is called nangka. The ripe fruit is usually sold separately and consumed on its own, or sliced and mixed with shaved ice as a sweet concoction dessert such as es campur and es teler. The ripe fruit might be dried and fried as kripik nangka, or jackfruit cracker. The seeds are boiled and consumed with salt, as they contains edible starchy content; this is called beton. Young (unripe) jackfruit is made into curry called gulai nangka or stewed called gudeg.

 

In the Philippines, jackfruit is called langka in Filipino and nangkà in Cebuano. The unripe fruit is usually cooked in coconut milk and eaten with rice; this is called ginataang langka. The ripe fruit is often an ingredient in local desserts such as halo-halo and the Filipino turon. The ripe fruit, besides also being eaten raw as it is, is also preserved by storing in syrup or by drying. The seeds are also boiled before being eaten.

 

Thailand is a major producer of jackfruit, which are often cut, prepared, and canned in a sugary syrup (or frozen in bags or boxes without syrup) and exported overseas, frequently to North America and Europe.

 

In Vietnam, jackfruit is used to make jackfruit chè, a sweet dessert soup, similar to the Chinese derivative bubur cha cha. The Vietnamese also use jackfruit purée as part of pastry fillings or as a topping on xôi ngọt (a sweet version of sticky rice portions).

 

Jackfruits are found primarily in the eastern part of Taiwan. The fresh fruit can be eaten directly or preserved as dried fruit, candied fruit, or jam. It is also stir-fried or stewed with other vegetables and meat.

 

AMERICAS

In Brazil, three varieties are recognized: jaca-dura, or the "hard" variety, which has a firm flesh, and the largest fruits that can weigh between 15 and 40 kg each; jaca-mole, or the "soft" variety, which bears smaller fruits with a softer and sweeter flesh; and jaca-manteiga, or the "butter" variety, which bears sweet fruits whose flesh has a consistency intermediate between the "hard" and "soft" varieties.

 

AFRICA

From a tree planted for its shade in gardens, it became an ingredient for local recipes using different fruit segments. The seeds are boiled in water or roasted to remove toxic substances, and then roasted for a variety of desserts. The flesh of the unripe jackfruit is used to make a savory salty dish with smoked pork. The jackfruit arils are used to make jams or fruits in syrup, and can also be eaten raw.

 

WOOD AND MANUFACTURING

The golden yellow timber with good grain is used for building furniture and house construction in India. It is termite-proof and is superior to teak for building furniture. The wood of the jackfruit tree is important in Sri Lanka and is exported to Europe. Jackfruit wood is widely used in the manufacture of furniture, doors and windows, in roof construction, and fish sauce barrels.

 

The wood of the tree is used for the production of musical instruments. In Indonesia, hardwood from the trunk is carved out to form the barrels of drums used in the gamelan, and in the Philippines, its soft wood is made into the body of the kutiyapi, a type of boat lute. It is also used to make the body of the Indian string instrument veena and the drums mridangam, thimila, and kanjira.

 

CULTURAL SIGNIFICANCE

The jackfruit has played a significant role in Indian agriculture for centuries. Archeological findings in India have revealed that jackfruit was cultivated in India 3000 to 6000 years ago. It has also been widely cultivated in Southeast Asia.

 

The ornate wooden plank called avani palaka, made of the wood of the jackfruit tree, is used as the priest's seat during Hindu ceremonies in Kerala. In Vietnam, jackfruit wood is prized for the making of Buddhist statues in temples The heartwood is used by Buddhist forest monastics in Southeast Asia as a dye, giving the robes of the monks in those traditions their distinctive light-brown color.

 

Jackfruit is the national fruit of Bangladesh, and the state fruit of the Indian states of Kerala and Tamil Nadu.

 

CULTIVATION

In terms of taking care of the plant, minimal pruning is required; cutting off dead branches from the interior of the tree is only sometimes needed. In addition, twigs bearing fruit must be twisted or cut down to the trunk to induce growth for the next season. Branches should be pruned every three to four years to maintain productivity.

 

Some trees carry too many mediocre fruits and these are usually removed to allow the others to develop better to maturity.

 

Stingless bees such as Tetragonula iridipennis are jackfruit pollinators, so play an important role in jackfruit cultivation.

Production and marketing

 

In 2017, India produced 1.4 million tonnes of jackfruit, followed by Bangladesh, Thailand, and Indonesia.

 

The marketing of jackfruit involves three groups: producers, traders, and middlemen, including wholesalers and retailers. The marketing channels are rather complex. Large farms sell immature fruit to wholesalers, which helps cash flow and reduces risk, whereas medium-sized farms sell the fruit directly to local markets or retailers.

 

COMMERCIAL AVAILABILITY

Outside countries of origin, fresh jackfruit can be found at food markets throughout Southeast Asia. It is also extensively cultivated in the Brazilian coastal region, where it is sold in local markets. It is available canned in sugary syrup, or frozen, already prepared and cut. Jackfruit industries are established in Sri Lanka and Vietnam, where the fruit is processed into products such as flour, noodles, papad, and ice cream. It is also canned and sold as a vegetable for export.

 

Jackfruit is also widely available year-round, both canned and dried. Dried jackfruit chips are produced by various manufacturers.

 

INVASIVE SPECIES

In Brazil, the jackfruit can become an invasive species as in Brazil's Tijuca Forest National Park in Rio de Janeiro. The Tijuca is mostly an artificial secondary forest, whose planting began during the mid-nineteenth century; jackfruit trees have been a part of the park's flora since it was founded.

 

Recently, the species has expanded excessively, and its fruits, which naturally fall to the ground and open, are eagerly eaten by small mammals, such as the common marmoset and coati. The seeds are dispersed by these animals; this allows the jackfruit to compete for space with native tree species. Additionally the supply of jackfruit has allowed the marmoset and coati populations to expand. Since both prey opportunistically on birds' eggs and nestlings, increases in marmoset or coati population are detrimental for local bird populations.

 

WIKIPEDIA

St. Hilda’s By The Sea is a small Anglican church in Sechelt. Set among the verdant green trees of the temperate rainforest, it is an eclectic mix of old and new: retired British pensioners polish the altar crystal and set out flowers for Sunday services, presided over by a gay Chinese-Canadian priest. Tai chi mixes with Celtic mysticism in a melange that is somehow stronger than its parts. And isn’t that what community is all about?

  

From the official website:

 

Walking the labyrinth is an ancient spiritual act that is being rediscovered during our time.

 

Usually constructed from circular patterns, labyrinths are based on principles of sacred geometry. Sometimes called “divine imprints”, they are found around the world as sacred patterns that have been passed down through the ages for at least 4,000 years. When a pattern of a certain size is constructed or placed on the ground, it can be used for walking meditations and rituals.

 

Labyrinths and their geometric cousins (spirals and mandalas) can be found in almost every religious tradition. For example, the Kabbala, or Tree of Life, is found in the Jewish mystical tradition. The Hopi Medicine Wheel, and the Man in the Maze are two forms from the Native American labyrinth traditions. The Cretan labyrinth, the remains of which can be found on the island of Crete, has seven path rings and is the oldest known labyrinth (4,000 or 5.000 years old).

 

In Europe, the Celts and later the early Christian Celtic Church revered labyrinths and frequently built them in natural settings. Sacred dances would be performed in them to celebrate solar and religious festivals. During the Middle Ages, labyrinths were created in churches and cathedrals throughout France and Northern Italy. These characteristically flat church or pavement labyrinths were inlaid into the floor of the nave of the church.

 

The Chartres Labyrinth

 

The labyrinth constructed at St. Hilda’s is an 11-circuit labyrinth. It is a replica of the one embedded in the floor of Chartres Cathedral in France. The design of this labyrinth, and many of the other church labyrinths in Europe, is a reworking of the ancient labyrinth design in which an equal-armed cross is emphasized and surrounded by a web of concentric circles. As with many Christian symbols, this was an adaptation of a symbol; that is known to have predated the Christian faith. This medieval variation is considered a breakthrough in design because it is less linear than the preceding, more formal, Roman design that developed from quadrant to quadrant. The medieval design made one path as long as possible, starting at the outer circumference and leading to the centre. Fraught with twists and turns, the path’s meanderings were considered symbolic representations of the Christian pilgrim’s journey to the Holy City of Jerusalem and of one’s own journey through life. This classical design is sometimes referred to as “the Chartres Labyrinth” due to the location of its best known example. The labyrinth was built at Chartres in the early 13th century (~ 1215 A.D.). No one knows the source of this classical 11-circuit labyrinth design, and much of its spiritual meaning and use has been lost.

 

The Chartres Labyrinth is located in the west end of the nave, the central body of the cathedral. When you walk in the main doors and look towards the high altar, you see the center of the labyrinth on the floor about 50 feet in front of you. It is approximately 42 feet in diameter and the path is 16 inches wide. At Chartres, the center of the Rose Window mirrors the center of the labyrinth. The cathedral is perfectly proportioned, so that if we put the west wall of the cathedral on hinges and folded it down on the labyrinth, the Rose Window would fit almost perfectly over the labyrinth.

 

Labyrinth or Maze?

 

The difference between a labyrinth used for meditation and mazes can be confusing. Mazes often have many entrances, dead-ends and cul-de-sacs that frequently confound the human mind. In contrast, meditation labyrinths offer only one path. By following the one path to the center, the seeker can use the labyrinth to quiet his or her mind and find peace and illumination at the center of his or her being. “As soon as one enters the labyrinth, one realizes that the path of the labyrinth serves as a metaphor for one’s spiritual journey. The walk, and all that happens on it, can be grasped through the intuitive, pattern-discerning faculty of the person walking it. The genius of this tool is that it reflects back to the seeker whatever he or she needs to discover from the perspective of a new level of conscious awareness.”

 

The Labyrinth is a Universal Meditation Tool

 

Anyone from any tradition or spiritual path can walk into the labyrinth and, through reflecting in the present moment, can benefit from it. A meditation labyrinth is one of many tools that can be used for spiritual practice. Like any tool, it is best used with a proper, good, intention. A church or temple can be used simply as a refuge from a rainstorm, but it can be so much more with a different intention. The same is true of the labyrinth. The seeker is only asked to put one foot in front of the other. By stepping into the labyrinth, we are choosing once again to walk the contemplative spiritual path. We are agreeing to let ourselves be open to see, to be free to hear, and to becoming real enough to respond. The labyrinth is a prayer path, a crucible of change, a meditation tool, a blueprint where psyche meets soul.

 

The best way to learn about the labyrinth is to walk a well-constructed one a few times, with an open heart and an open mind. Then allow your experience to guide you as to whether this will be a useful spiritual tool for you.

 

The Chartres Labyrinth and the Pilgrim’s Journey

 

Pilgrims are persons in motion – passing through territories not their own – seeking something we might call completion, or perhaps the word clarity will do as well, a goal to which only the spirit’s compass points the way.

Richard R. Niebuhr in Pilgrims and Pioneers

 

“The tradition of pilgrimage is as old as religion itself. Worshippers on pilgrimage traveled to holy festivals whether to solstice celebrations, to Mecca to gather around the Ka’aba for the high holy days of Islam, or to Easter festivals in the Holy City of Jerusalem. Pilgrimages were a mixture of religious duty and holiday relaxation for the peasant, the commoner and rich land owner alike. The journey was often embarked on in groups with designated places to stay at night. The pilgrims were restless to explore the mystical holy places, and many were in search of physical or spiritual healing.

 

The Christian story, which emphasized the humanity of Christ, fascinated the pilgrims. In the Middle Ages, most people did not read. As a result, they were much more oriented to the senses than we are today. They learned the story by traveling to Jerusalem to walk where Jesus walked, to pray where he prayed, and to experience, in a solemn moment, where he died. Unlike today, Pilgrims encountered the truth of the Christian mystery through an ongoing intimacy with all their senses.

 

When a person committed his or her life to Christ in the early Middle Ages, they sometimes made a vow to make a pilgrimage to the Holy City of Jerusalem. However, by the 12th century when the Crusades swept across Europe and the ownership of Jerusalem was in tumultuous flux, travel became dangerous and expensive. In response to this situation, the Roman Church appointed seven pilgrimage cathedrals to become “Jerusalem” for pilgrims. Consequently, in the pilgrimage tradition, the path within the labyrinth was called the Chemin de Jerusalem and the center of the labyrinth was called “New Jerusalem”.

 

The walk into the labyrinth marked the end of the physical journey across the countryside and served as a symbolic entry-way into the spiritual realms of the Celestial City. The image of the Celestial City – taken straight out of the Book of Revelation to John – captivated the religious imagination of many during the Middle Ages. The wondrous Gothic cathedrals, with painted walls either in bright, even gaudy colours, or else white-washed, were designed to represent the Celestial City. The stained glass windows – when illuminated by the sun – created the sense of colourful, dancing jewels, allowing the pilgrim to experience the awesome mystery of the City of God.”

 

The Journey of Life

 

A fundamental approach to the labyrinth is to see it as a metaphor for life’s journey. The labyrinth reminds us that all of life, with its joys, sorrows, twists and turns, is a journey that comes from God (birth) and goes to God (death). It is a physical metaphor for the journey of healing, spiritual and emotional growth and transformation. Following the path is like any journey. Sometimes you feel you are at or nearing your destination, and at other times you may feel distant or even lost. Only by faithfully keeping to the path will you arrive at the physical center of the labyrinth, which signifies God, the center of our lives and souls.

 

Applying the Three Fold Mystical Tradition to the Labyrinth

 

In the Christian mystical tradition, the journey to God was articulated in the three stages. These stages have become recognized as being universal to meditation: to release and quiet; to open and receive; and to take what was gained back out into the world.

 

The Three Stages

 

The first part of the Three- Fold Mystical Path is Purgation. This archaic word is from the root word “to purge”, meaning to cleanse, to let go. Shedding is another way of describing the experience. The mystical word is empting or releasing. It is believed that monks journeyed the first part of the labyrinth Purgation on their knees as a penitential act. This was not done for reasons of punishment as we might think, but as a way to humble oneself before God.

 

The second stage of the Three-Fold Path, Illumination, is found in the center of the labyrinth. Usually it is a surprise to reach the center because the long winding path seems “illogical” and cannot be figured out by the linear mind. After quieting the mind in the first part of the walk, the center presents a new experience: a place of meditation and prayer. Often people at this stage in the walk find insight into their situation in life, or clarity about a certain problem, hence the label “illumination”. As one enters the

center, the instruction is simple: enter with an open heart and mind; receive what there is for you.

 

The third stage, Union, begins when you leave the center of the labyrinth and continues as you retrace the path that brought you in. In this stage the meditation takes on a grounded, energized feeling. Many people who have had an important experience in the center feel that this third stage of the labyrinth gives them a way of integrating the insights they received. Others feel that this stage stokes the creative fires within. It energizes insight. It empowers, invites, and even pushes us to be more authentic and confident and to take risks with our gifts in the world. Union means communing with God.

 

The Monastic Orders experienced a union with God through their community life by creating a fulfilling balance between the work that was assigned, sleep and the many hours of worship attended daily. Our times present a similar challenge: we struggle to find balance between work, sleep, family and friends, leisure and spiritual life. The lack of structured communities in which people share work responsibilities and the “every person for himself or herself” mentality (or every family for itself) prevalent in our highly individualistic society makes the task of finding balance even more difficult.

 

Monastic communities offered a mystical spirituality that spoke to highly intuitive and intensely introverted people and (paradoxically to some) at the same time provided an economic structure throughout Europe. Monasteries during the Middle Ages provided schools and hospitals managed by monks; yet, at the same time, cloistered life helped the monks stay inwardly directed. Today, without any reliable structure directing us, the way of union needs to be re-thought. Our times call for most of us to be outer-directed. We are called to action in every aspect of our society in order to meet the spiritual challenges that confront us in the 21st century. Gratefully, there are still people in religious orders holding the candle for deep contemplation, but the majority of people involved in the spiritual transformation are searching for a path that guides them to service in the world in an active, extroverted, compassionate way. The third stage of the labyrinth empowers the seeker to move back into the world replenished and directed – which makes the labyrinth a particularly powerful tool for transformation.

 

Walking the Labyrinth: The Process

 

The purpose of all spiritual disciplines – prayer, fasting, meditation – is to help create an open attentiveness that enables us to receive and renew our awareness of our grounding and wholeness in God.

 

The Experience of Walking Meditation

 

Many of us have trouble quieting our minds. The Buddhists call the distracted state of mind the “monkey mind”, which is an apt image of what the mind is frequently like: thoughts swinging like monkeys from branch to branch, chattering away without any rhyme or conscious reason. When the mind is quiet, we feel peaceful and open, aware of a silence that embraces the universe.

 

Complete quiet in the mind is not a realistic goal for most of us. Instead, the task is to dis-identify with the thoughts going through our minds. Don’t get hooked by the thoughts, let them go. Thomas Keating, a Cistercian monk who teaches Centering Prayer (meditation) in the Christian tradition, described the mind as a still lake. A thought is like a fish that swims through it. If you get involved with the fish (“Gee what an unusual fish, I wonder what it is called?”), then you are hooked. Many of us have discovered through learning meditation how difficult it is to quiet the mind; yet, the rewards are great.

 

In the labyrinth, the sheer act of walking a complicated, attention demanding path begins to focus the mind. Thoughts of daily tasks and experiences become less intrusive. A quiet mind does not happen automatically. You must gently guide the mind with the intention of letting go of extraneous thoughts. This is much easier to do when your whole body is moving – when you are walking. Movement takes away the excess charge of psychic energy that disturbs our efforts to quiet our thought processes.

 

Two Basic Approaches to the Walk

 

One way to walk the labyrinth is to choose to let all thought go and simply open yourself to your experience with gracious attention. Usually – though not always – quieting happens in the first stage of the walk. After the mind is quiet, you can choose to remain in the quiet. Or use the labyrinth as a prayer path. Simply begin to talk to God. This is an indication that you are ready to receive what is there for you, or you allow a sincere part of your being to find its voice.

 

A second approach to a labyrinth walk is to consider a question. Concentrate on the question as you walk in. Amplify your thoughts about it; let all else go but your question. When you walk into the center with an open heart and an open mind, you are opening yourself to receiving new information, new insights about yourself.

 

Guidelines for the Walk

 

Find your pace. In our chaotic world we are often pushed beyond a comfortable rhythm. In this state we lose the sense of our own needs. To make matters worse, we are often rushed and then forced to wait. Anyone who has hurried to the bank only to stand in line knows the feeling. Ironically, the same thing can happen with the labyrinth, but there is a difference. The labyrinth helps us find what our natural pace would be and draws our attention to it when we are not honouring it.

 

Along with finding your pace, support your movement through the labyrinth by becoming conscious of your breath. Let your breath flow smoothly in and out of your body. It can be coordinated with each step – as is done in the Buddhist walking meditation – if you choose. Let your experience be your guide.

 

Each experience in the labyrinth is different, even if you walk it often in a short period of time. The pace usually differs each time as well. It can change dramatically within the different stages of the walk. When the labyrinth has more than a comfortable number of seekers on it, you can “pass” people if you want to continue to honour the intuitive pace your inner process has set. If you are moving at a slower pace, you can allow people to pass you. At first people are uncomfortable with the idea of “passing” someone on the labyrinth. It looks competitive, especially since the walk is a spiritual exercise. Again, these kinds of thoughts and feelings, we hope, are greeted from a spacious place inside that smiles knowingly about the machinations of the human ego. On the spiritual path we meet every and all things. To find our pace, to allow spaciousness within, to be receptive to all experience, and to be aware of the habitual thoughts and issues that hamper our spiritual development is a road to self-knowledge.

 

Summary of How to Walk the Labyrinth

 

Pause at the entry way to allow yourself to be fully conscious of the act of stepping into the labyrinth. Allow about a minute, or several turns on the path, to create some space between yourself and the person in front of you. Some ritual act, such as a bow, may feel appropriate during the labyrinth walk. Do what comes naturally.

 

Follow your pace. Allow your body to determine the pace. If you allow a rapid pace and the person in front of you is moving slower, feel free to move around this person. This is easiest to do at the turns by turning earlier. If you are moving slowly, you can step onto the labyrs (wide spaces at the turns) to allow others to pass.

 

The narrow path is a two-way street. If you are going in and another person is going out, you will meet on the path. If you want to keep in an inward meditative state, simply do not make eye contact. If you meet someone you know, a touch of the hand or a hug may be an important acknowledgement of being on the path together.

 

Symbolism and Meanings Found in the Chartres Labyrinth

 

Circles and Spirals

 

The circle is the symbol of unity or union and it is the primary shape of all labyrinths. The circle in sacred geometry represents the incessant movement of the universe (uncomprehensible) as opposed to the square which represents comprehensible order. The labyrinth is a close cousin to the spiral and it, too, reflects the cyclical element of nature and is regarded as the symbol of eternal life.

 

The labyrinth functions like a spiral, creating a vortex in its center. Upon entering, the path winds in a clockwise pattern. Energy is being drawn out. Upon leaving the center the walker goes in a counter clockwise direction. The unwinding path integrates and empowers us on our walk back out. We are literally ushered back out into the world in a strengthened condition.

 

The Path

 

The path lies in 11 concentric circles with the 12th being the labyrinth center. The path meanders throughout the whole circle. There are 34 turns on the path going into the center. Six are semi-right turns and 28 are 180° turns. So the 12 rings that form the 11 pathways may symbolically represent, the 12 apostles, 12 tribes of Israel or 12 months of the year. Twelve is a mystical number in Christianity. In sacred geometry three represents heaven and four represents earth. Twelve is the product of 3 x 4 and, therefore, the path which flows through the whole is then representative of all creation.

 

The obvious metaphor for the path is the difficult path to salvation, with its many twists and turns. Since we cannot see a straight path to our destination, the labyrinth can be viewed as a metaphor for our lives. We learn to surrender to the path (Christ) and trust that he will lead us on our journey.

 

The path can also be viewed as grace or the Church guiding us through chaos.

 

The Cruciform and Labyrs

 

The labyrinth is divided equally into four quadrants that make an equal-armed cross or cruciform. The four arms represent in symbol what is thought to be the essential

 

structure of the universe for example, the four spatial directions, the four elements (earth, wind, water and fire), the four seasons and, most important, salvation through the cross. The four arms of the cross emerging from the center seem to give order to the would-be chaos of the meandering path around it.

 

The Chartres labyrinth cross or cruciform is delineated by the 10 labyrs (labyr means to turn and this is the root of the word labyrinth). The labyrs are double-ax shaped and visible at the turns and between turns. They are traditionally seen as a symbol of women’s power and creativity.

 

The Centre Rosette

 

In the Middle Ages, the rose was regarded as a symbol for the Virgin Mary. Because of its association with the myths of Percival and the Holy Grail at that time, it also was seen as a sign of beauty and love. The rose becomes symbolic of both human and divine love, of passionate love, but also love beyond passion. The single rose became a symbol of a simple acceptance of God’s love for the world.

 

Unlike a normal rose (which has five petals) the rosette has six petals and is steeped in mysticism. Although associated with the Rose of Sharon, which refers to Mary, it may also represent the Holy Spirit (wisdom and enlightenment). The six petals may have corresponded to the story of the six days of creation. In other mystical traditions, the petals can be viewed as the levels of evolution (mineral, plant, animal, humankind, angelic and divine).

 

The Lunations

 

The lunations are the outer ring of partial circles that complete the outside circle of the labyrinth. They are unique to the Chartres design.

 

Celtic Symbols on the St. Hilda’s Labyrinth

 

The Celtic peoples have given us seven enduring spiritual principles:

 

1. A deep respect of nature, regarding creation as the fifth Gospel.

 

2. Quiet care for all living things.

3. The love of learning.

4. A wonder-lust or migratory nature.

5. Love of silence and solitude.

6. Understanding of time as a sacred reality and an appreciation of ordinary life, worshipping God through everyday life, and with great joy.

7. The value of family and clan affiliation, and especially spiritual ties of soul friends.

To show our respect for such wisdom, two Celtic designs adorn the St. Hilda’s labyrinth.

 

To mark the entrance to the labyrinth is a Celtic zoomorphic design painted in red. Traditionally, Celtic monks used intricate knotwork and zoomorphic designs (odd animals intertwined in uncomfortable ways) as mere filler for their illuminated gospel texts. They had no discernible meaning.

 

However, because of their unique design components, zoomorphs are now associated with transformations.

 

Transformation, change, action, and passion are also associated with red, the colour of fire. Therefore, this entrance symbol may well be an appropriate sign for the journey ahead.

At the labyrinth’s centre is a Celtic triquetra. This interlocked knotwork design of three stylized fish (whales) is often interpreted as the Trinity knot. It is a perfect representation of the concept of "three in one" in Christian trinity beliefs. Having the design enclosed within the centre circle further emphasizes the unity theme.

 

The triquetra can also be considered to represent the triplicities of mind, body, and soul, as well as the three domains of earth- earth, sea, and sky.

 

Final Reflection: The Labyrinth as a “Thinning Place”

 

In Celtic Christianity, places where people felt most strongly connected with God’s presence were referred to as thin places. It was these places in nature (forest groves, hilltops and deep wells) that the seen and unseen worlds were most closely connected, and the inhabitants of both worlds could momentarily touch the other. Today our churches, temples and sacred sites are the new thin places to meet the Divine. Here, at St Hilda’s, we have opportunities to encounter many thinning places – whether it be during Eucharistic or Taize services, while singing or praying, or through the love of a welcoming inclusive community. The labyrinth is a welcome addition; and with the right intent can also become a new thinning place for the modern pilgrim/spiritual seeker.This outward journey is an archetype with which we can have a direct experience. We can walk it. It can serve to frame the inward journey – a journey of repentance, forgiveness and rebirth, a journey that seeks a deeper faith, and greater holiness, a journey in search of God.

 

This High Dynamic Range panorama was stitched from 84 bracketed images with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.

 

Original size: 18160 × 9080 (164.9 MP; 194 MB).

 

Location: St. Hilda’s By The Sea Anglican Church, Sechelt, British Columbia, Canada

Silver. Diameter: 14.3 cm. Elmali. Tumulus D.

Phrygian Period, late 8th -7th centuries BC.

A small spherical silver pot hammered from a single sheet of silver. Applied ring attachments on either side

of the lip for a chain or metal handle. Found in a grave and not made for everyday use.

The jackfruit (Artocarpus heterophyllus), also known as jack tree, is a species of tree in the fig, mulberry, and breadfruit family (Moraceae). Its original distribution range is unknown but most authors place its center of origin to be within the region between the Western Ghats of southern India to the rainforests of Borneo.

 

The jackfruit tree is well-suited to tropical lowlands, and its fruit is the largest tree-borne fruit, reaching as much as 55 kg in weight, 90 cm in length, and 50 cm in diameter. A mature jackfruit tree can produce about 100 to 200 fruits in a year. The jackfruit is a multiple fruit, composed of hundreds to thousands of individual flowers, and the fleshy petals are eaten.

 

Jackfruit is commonly used in South and Southeast Asian cuisines. The ripe and unripe fruit and seeds are consumed. The jackfruit tree is a widely cultivated throughout tropical regions of the world. It is the national fruit of Bangladesh and Sri Lanka, and the state fruit of the Indian states of Kerala and Tamil Nadu.

 

ETYMOLOGY AND HISTORY

The word "jackfruit" comes from Portuguese jaca, which in turn is derived from the Malayalam language term chakka (Malayalam chakka pazham). When the Portuguese arrived in India at Kozhikode (Calicut) on the Malabar Coast (Kerala) in 1498, the Malayalam name ചക്ക (cakka) was recorded by Hendrik van Rheede (1678–1703) in the Hortus Malabaricus, vol. iii in Latin. Henry Yule translated the book in Jordanus Catalani's (f. 1321–1330) Mirabilia descripta: the wonders of the East. This term is in turn derived from the Proto-Dravidian root kā(y) ("fruit, vegetable").

 

The common English name "jackfruit" was used by physician and naturalist Garcia de Orta in his 1563 book Colóquios dos simples e drogas da India. Centuries later, botanist Ralph Randles Stewart suggested it was named after William Jack (1795–1822), a Scottish botanist who worked for the East India Company in Bengal, Sumatra, and Malaya.

 

The jackfruit was domesticated independently in South Asia and Southeast Asia, as evidenced by the fact that the Southeast Asian names for the fruit are not derived from the Sanskrit roots. It was probably first domesticated by Austronesians in Java or the Malay Peninsula. The word for jackfruit in Proto-Western-Malayo-Polynesian is reconstructed as *laŋkaq. Modern cognates include Javanese, Malay, Balinese, and Cebuano nangka; Tagalog, Pangasinan, Bikol and Ilocano langka; Chamorro lanka or nanka; Kelabit nakan; Wolio nangke; Ibaloi dangka; and Lun Dayeh laka. Note, however, that the fruit was only recently introduced to Guam via Filipino settlers when both were part of the Spanish Empire.

 

BOTANICAL DESCRIPTION

SHAPE, TRUNK AND LEAVES

Artocarpus heterophyllus grows as an evergreen tree that has a relatively short trunk with a dense treetop. It easily reaches heights of 10 to 20 meters and trunk diameters of 30 to 80 centimeters. It sometimes forms buttress roots. The bark of the jackfruit tree is reddish-brown and smooth. In the event of injury to the bark, a milky juice is released.

 

The leaves are alternate and spirally arranged. They are gummy and thick and are divided into a petiole and a leaf blade. The petiole is 1 to 3 inches long. The leathery leaf blade is 7 to 15 inches long, and 3 to 7 inches wide and is oblong to ovate in shape.

 

In young trees, the leaf edges are irregularly lobed or split. On older trees, the leaves are rounded and dark green, with a smooth leaf margin. The leaf blade has a prominent main nerve and starting on each side six to eight lateral nerves. The stipules are egg-shaped at a length of 1.5 to 8 centimeters.

 

FLOWERS AND FRUIT

The inflorescences are formed on the trunk, branches or twigs (caulifloria). Jackfruit trees are monoecious, that is there are both female and male flowers on a tree. The inflorescences are pedunculated, cylindrical to ellipsoidal or pear-shaped, to about 10-12 centimeters long and 5-7 centimeters wide. Inflorescences are initially completely enveloped in egg-shaped cover sheets which rapidly slough off.

 

The flowers are very small, there are several thousand flowers in an inflorescence, which sit on a fleshy rachis . The male flowers are greenish, some flowers are sterile. The male flowers are hairy and the perianth ends with two 1 to 1.5 millimeters membrane. The individual and prominent stamens are straight with yellow, roundish anthers. After the pollen distribution, the stamens become ash-gray and fall off after a few days. Later all the male inflorescences also fall off. The greenish female flowers, with hairy and tubular perianth, have a fleshy flower-like base. The female flowers contain an ovary with a broad, capitate or rarely bilobed scar. The blooming time ranges from December until February or March.

 

The ellipsoidal to roundish fruit is a multiple fruit formed from the fusion of the ovaries of multiple flowers. The fruits grow on a long and thick stem on the trunk. They vary in size and ripen from an initially yellowish-greenish to yellow, and then at maturity to yellowish-brown. They possess a hard, gummy shell with small pimples surrounded with hard, hexagonal tubercles. The very large and variously shaped fruit have a length of 30 to 100 centimeters and a diameter of 15 to 50 centimeters and can weigh 10-25 kilograms or more.

 

The fruits consist of a fibrous, whitish core (rachis) about 5-10 centimeters thick. Radiating from this are many 10 centimeter long individual fruits. They are elliptical to egg-shaped, light brownish achenes with a length of about 3 centimeters and a diameter of 1.5 to 2 centimeters.

 

There may be about 100-500 seeds per fruit. The seed coat consists of a thin, waxy, parchment-like and easily removable testa (husk) and a brownish, membranous tegmen. The cotyledons are usually unequal in size, the endosperm is minimally present.

 

The fruit matures during the rainy season from July to August. The bean-shaped achenes of the jackfruit are coated with a firm yellowish aril (seed coat, flesh), which has an intense sweet taste at maturity of the fruit. The pulp is enveloped by many narrow strands of fiber (undeveloped perianth), which run between the hard shell and the core of the fruit and are firmly attached to it. When pruned, the inner part (core) secretes a very sticky, milky liquid, which can hardly be removed from the skin, even with soap and water. To clean the hands after "unwinding" the pulp an oil or other solvent is used. For example, street vendors in Tanzania, who sell the fruit in small segments, provide small bowls of kerosene for their customers to cleanse their sticky fingers.

 

An average fruit consists of 27% edible seed coat, 15% edible seeds, 20% white pulp (undeveloped perianth, rags) and bark and 10% core.

 

The number of chromosomes is 2n = 56.

 

AS FOOD

Ripe jackfruit is naturally sweet, with subtle flavoring. It can be used to make a variety of dishes, including custards, cakes, or mixed with shaved ice as es teler in Indonesia or halo-halo in the Philippines. For the traditional breakfast dish in southern India, idlis, the fruit is used with rice as an ingredient and jackfruit leaves are used as a wrapping for steaming. Jackfruit dosas can be prepared by grinding jackfruit flesh along with the batter. Ripe jackfruit arils are sometimes seeded, fried, or freeze-dried and sold as jackfruit chips.

 

The seeds from ripe fruits are edible, and are said to have a milky, sweet taste often compared to Brazil nuts. They may be boiled, baked, or roasted. When roasted, the flavor of the seeds is comparable to chestnuts. Seeds are used as snacks (either by boiling or fire-roasting) or to make desserts. In Java, the seeds are commonly cooked and seasoned with salt as a snack. They are quite commonly used in curry in India in the form of a traditional lentil and vegetable mix curry.

 

AROMA

Jackfruit has a distinctive sweet and fruity aroma. In a study of flavour volatiles in five jackfruit cultivars, the main volatile compounds detected were ethyl isovalerate, propyl isovalerate, butyl isovalerate, isobutyl isovalerate, 3-methylbutyl acetate, 1-butanol, and 2-methylbutan-1-ol.

 

A fully ripe and unopened jackfruit is known to "emit a strong aroma", with the inside of the fruit described as smelling of pineapple and banana. After roasting, the seeds may be used as a commercial alternative to chocolate aroma.

 

NUTRITIONAL VALUE

The flesh of the jackfruit is starchy and fibrous and is a source of dietary fiber. The pulp is composed of 74% water, 23% carbohydrates, 2% protein, and 1% fat. In a 100-g portion, raw jackfruit provides 400 kJ (95 kcal) and is a rich source (20% or more of the Daily Value, DV) of vitamin B6 (25% DV). It contains moderate levels (10-19% DV) of vitamin C and potassium, with no other nutrients in significant content.

 

The jackfruit also provides a potential part of the solution for tropical countries facing problems with food security, such as several countries of Africa.

 

CULINARY USES

The flavor of the ripe fruit is comparable to a combination of apple, pineapple, mango, and banana. Varieties are distinguished according to characteristics of the fruit flesh. In Indochina, the two varieties are the "hard" version (crunchier, drier, and less sweet, but fleshier), and the "soft" version (softer, moister, and much sweeter, with a darker gold-color flesh than the hard variety). Unripe jackfruit has a mild flavor and meat-like texture and is used in curry dishes with spices in many cuisines. The skin of unripe jackfruit must be peeled first, then the remaining jackfruit flesh is chopped in a labor-intensive process into edible portions and cooked before serving.

 

The cuisines of many Asian countries use cooked young jackfruit. In many cultures, jackfruit is boiled and used in curries as a staple food. The boiled young jackfruit is used in salads or as a vegetable in spicy curries and side dishes, and as fillings for cutlets and chops. It may be used by vegetarians as a substitute for meat such as pulled pork. It may be cooked with coconut milk and eaten alone or with meat, shrimp or smoked pork. In southern India, unripe jackfruit slices are deep-fried to make chips.

 

SOUTH ASIA

In Bangladesh, the fruit is consumed on its own. The unripe fruit is used in curry, and the seed is often dried and preserved to be later used in curry. In India, two varieties of jackfruit predominate: muttomvarikka and sindoor. Muttomvarikka has a slightly hard inner flesh when ripe, while the inner flesh of the ripe sindoor fruit is soft.

 

A sweet preparation called chakkavaratti (jackfruit jam) is made by seasoning pieces of muttomvarikka fruit flesh in jaggery, which can be preserved and used for many months. The fruits are either eaten alone or as a side to rice. The juice is extracted and either drunk straight or as a side. The juice is sometimes condensed and eaten as candies. The seeds are either boiled or roasted and eaten with salt and hot chilies. They are also used to make spicy side dishes with rice. Jackfruit may be ground and made into a paste, then spread over a mat and allowed to dry in the sun to create a natural chewy candy.

 

SOUTHEAST ASIA

In Indonesia and Malaysia, jackfruit is called nangka. The ripe fruit is usually sold separately and consumed on its own, or sliced and mixed with shaved ice as a sweet concoction dessert such as es campur and es teler. The ripe fruit might be dried and fried as kripik nangka, or jackfruit cracker. The seeds are boiled and consumed with salt, as they contains edible starchy content; this is called beton. Young (unripe) jackfruit is made into curry called gulai nangka or stewed called gudeg.

 

In the Philippines, jackfruit is called langka in Filipino and nangkà in Cebuano. The unripe fruit is usually cooked in coconut milk and eaten with rice; this is called ginataang langka. The ripe fruit is often an ingredient in local desserts such as halo-halo and the Filipino turon. The ripe fruit, besides also being eaten raw as it is, is also preserved by storing in syrup or by drying. The seeds are also boiled before being eaten.

 

Thailand is a major producer of jackfruit, which are often cut, prepared, and canned in a sugary syrup (or frozen in bags or boxes without syrup) and exported overseas, frequently to North America and Europe.

 

In Vietnam, jackfruit is used to make jackfruit chè, a sweet dessert soup, similar to the Chinese derivative bubur cha cha. The Vietnamese also use jackfruit purée as part of pastry fillings or as a topping on xôi ngọt (a sweet version of sticky rice portions).

 

Jackfruits are found primarily in the eastern part of Taiwan. The fresh fruit can be eaten directly or preserved as dried fruit, candied fruit, or jam. It is also stir-fried or stewed with other vegetables and meat.

 

AMERICAS

In Brazil, three varieties are recognized: jaca-dura, or the "hard" variety, which has a firm flesh, and the largest fruits that can weigh between 15 and 40 kg each; jaca-mole, or the "soft" variety, which bears smaller fruits with a softer and sweeter flesh; and jaca-manteiga, or the "butter" variety, which bears sweet fruits whose flesh has a consistency intermediate between the "hard" and "soft" varieties.

 

AFRICA

From a tree planted for its shade in gardens, it became an ingredient for local recipes using different fruit segments. The seeds are boiled in water or roasted to remove toxic substances, and then roasted for a variety of desserts. The flesh of the unripe jackfruit is used to make a savory salty dish with smoked pork. The jackfruit arils are used to make jams or fruits in syrup, and can also be eaten raw.

 

WOOD AND MANUFACTURING

The golden yellow timber with good grain is used for building furniture and house construction in India. It is termite-proof and is superior to teak for building furniture. The wood of the jackfruit tree is important in Sri Lanka and is exported to Europe. Jackfruit wood is widely used in the manufacture of furniture, doors and windows, in roof construction, and fish sauce barrels.

 

The wood of the tree is used for the production of musical instruments. In Indonesia, hardwood from the trunk is carved out to form the barrels of drums used in the gamelan, and in the Philippines, its soft wood is made into the body of the kutiyapi, a type of boat lute. It is also used to make the body of the Indian string instrument veena and the drums mridangam, thimila, and kanjira.

 

CULTURAL SIGNIFICANCE

The jackfruit has played a significant role in Indian agriculture for centuries. Archeological findings in India have revealed that jackfruit was cultivated in India 3000 to 6000 years ago. It has also been widely cultivated in Southeast Asia.

 

The ornate wooden plank called avani palaka, made of the wood of the jackfruit tree, is used as the priest's seat during Hindu ceremonies in Kerala. In Vietnam, jackfruit wood is prized for the making of Buddhist statues in temples The heartwood is used by Buddhist forest monastics in Southeast Asia as a dye, giving the robes of the monks in those traditions their distinctive light-brown color.

 

Jackfruit is the national fruit of Bangladesh, and the state fruit of the Indian states of Kerala and Tamil Nadu.

 

CULTIVATION

In terms of taking care of the plant, minimal pruning is required; cutting off dead branches from the interior of the tree is only sometimes needed. In addition, twigs bearing fruit must be twisted or cut down to the trunk to induce growth for the next season. Branches should be pruned every three to four years to maintain productivity.

 

Some trees carry too many mediocre fruits and these are usually removed to allow the others to develop better to maturity.

 

Stingless bees such as Tetragonula iridipennis are jackfruit pollinators, so play an important role in jackfruit cultivation.

Production and marketing

 

In 2017, India produced 1.4 million tonnes of jackfruit, followed by Bangladesh, Thailand, and Indonesia.

 

The marketing of jackfruit involves three groups: producers, traders, and middlemen, including wholesalers and retailers. The marketing channels are rather complex. Large farms sell immature fruit to wholesalers, which helps cash flow and reduces risk, whereas medium-sized farms sell the fruit directly to local markets or retailers.

 

COMMERCIAL AVAILABILITY

Outside countries of origin, fresh jackfruit can be found at food markets throughout Southeast Asia. It is also extensively cultivated in the Brazilian coastal region, where it is sold in local markets. It is available canned in sugary syrup, or frozen, already prepared and cut. Jackfruit industries are established in Sri Lanka and Vietnam, where the fruit is processed into products such as flour, noodles, papad, and ice cream. It is also canned and sold as a vegetable for export.

 

Jackfruit is also widely available year-round, both canned and dried. Dried jackfruit chips are produced by various manufacturers.

 

INVASIVE SPECIES

In Brazil, the jackfruit can become an invasive species as in Brazil's Tijuca Forest National Park in Rio de Janeiro. The Tijuca is mostly an artificial secondary forest, whose planting began during the mid-nineteenth century; jackfruit trees have been a part of the park's flora since it was founded.

 

Recently, the species has expanded excessively, and its fruits, which naturally fall to the ground and open, are eagerly eaten by small mammals, such as the common marmoset and coati. The seeds are dispersed by these animals; this allows the jackfruit to compete for space with native tree species. Additionally the supply of jackfruit has allowed the marmoset and coati populations to expand. Since both prey opportunistically on birds' eggs and nestlings, increases in marmoset or coati population are detrimental for local bird populations.

 

WIKIPEDIA

The Moon is the only natural satellite of Earth:

 

orbit: 384,400 km from Earth

diameter: 3476 km

mass: 7.35e22 kg

  

Called Luna by the Romans, Selene and Artemis by the Greeks, and many other names in other mythologies.

 

The Moon, of course, has been known since prehistoric times. It is the second brightest object in the sky after the Sun. As the Moon orbits around the Earth once per month, the angle between the Earth, the Moon and the Sun changes; we see this as the cycle of the Moon's phases. The time between successive new moons is 29.5 days (709 hours), slightly different from the Moon's orbital period (measured against the stars) since the Earth moves a significant distance in its orbit around the Sun in that time.

 

Due to its size and composition, the Moon is sometimes classified as a terrestrial "planet" along with Mercury, Venus, Earth and Mars.

 

The Moon was first visited by the Soviet spacecraft Luna 2 in 1959. It is the only extraterrestrial body to have been visited by humans. The first landing was on July 20, 1969 (do you remember where you were?); the last was in December 1972. The Moon is also the only body from which samples have been returned to Earth. In the summer of 1994, the Moon was very extensively mapped by the little spacecraft Clementine and again in 1999 by Lunar Prospector.

 

The gravitational forces between the Earth and the Moon cause some interesting effects. The most obvious is the tides. The Moon's gravitational attraction is stronger on the side of the Earth nearest to the Moon and weaker on the opposite side. Since the Earth, and particularly the oceans, is not perfectly rigid it is stretched out along the line toward the Moon. From our perspective on the Earth's surface we see two small bulges, one in the direction of the Moon and one directly opposite. The effect is much stronger in the ocean water than in the solid crust so the water bulges are higher. And because the Earth rotates much faster than the Moon moves in its orbit, the bulges move around the Earth about once a day giving two high tides per day. (This is a greatly simplified model; actual tides, especially near the coasts, are much more complicated.)

 

But the Earth is not completely fluid, either. The Earth's rotation carries the Earth's bulges slightly ahead of the point directly beneath the Moon. This means that the force between the Earth and the Moon is not exactly along the line between their centers producing a torque on the Earth and an accelerating force on the Moon. This causes a net transfer of rotational energy from the Earth to the Moon, slowing down the Earth's rotation by about 1.5 milliseconds/century and raising the Moon into a higher orbit by about 3.8 centimetres per year. (The opposite effect happens to satellites with unusual orbits such as Phobos and Triton).

 

The asymmetric nature of this gravitational interaction is also responsible for the fact that the Moon rotates synchronously, i.e. it is locked in phase with its orbit so that the same side is always facing toward the Earth. Just as the Earth's rotation is now being slowed by the Moon's influence so in the distant past the Moon's rotation was slowed by the action of the Earth, but in that case the effect was much stronger. When the Moon's rotation rate was slowed to match its orbital period (such that the bulge always faced toward the Earth) there was no longer an off-center torque on the Moon and a stable situation was achieved. The same thing has happened to most of the other satellites in the solar system. Eventually, the Earth's rotation will be slowed to match the Moon's period, too, as is the case with Pluto and Charon.

 

Actually, the Moon appears to wobble a bit (due to its slightly non-circular orbit) so that a few degrees of the far side can be seen from time to time, but the majority of the far side (left) was completely unknown until the Soviet spacecraft Luna 3 photographed it in 1959. (Note: there is no "dark side" of the Moon; all parts of the Moon get sunlight half the time (except for a few deep craters near the poles). Some uses of the term "dark side" in the past may have referred to the far side as "dark" in the sense of "unknown" (eg "darkest Africa") but even that meaning is no longer valid today!)

 

The Moon has no atmosphere. But evidence from Clementine suggested that there may be water ice in some deep craters near the Moon's south pole which are permanently shaded. This has now been reinforced by data from Lunar Prospector. There is apparently ice at the north pole as well.

 

The Moon's crust averages 68 km thick and varies from essentially 0 under Mare Crisium to 107 km north of the crater Korolev on the lunar far side. Below the crust is a mantle and probably a small core (roughly 340 km radius and 2% of the Moon's mass). Unlike the Earth, however, the Moon's interior is no longer active. Curiously, the Moon's center of mass is offset from its geometric center by about 2 km in the direction toward the Earth. Also, the crust is thinner on the near side.

 

There are two primary types of terrain on the Moon: the heavily cratered and very old highlands and the relatively smooth and younger maria. The maria (which comprise about 16% of the Moon's surface) are huge impact craters that were later flooded by molten lava. Most of the surface is covered with regolith, a mixture of fine dust and rocky debris produced by meteor impacts. For some unknown reason, the maria are concentrated on the near side.

 

Most of the craters on the near side are named for famous figures in the history of science such as Tycho, Copernicus, and Ptolemaeus. Features on the far side have more modern references such as Apollo, Gagarin and Korolev (with a distinctly Russian bias since the first images were obtained by Luna 3). In addition to the familiar features on the near side, the Moon also has the huge craters South Pole-Aitken on the far side which is 2250 km in diameter and 12 km deep making it the the largest impact basin in the solar system and Orientale on the western limb (as seen from Earth; in the center of the image at left) which is a splendid example of a multi-ring crater.

 

A total of 382 kg of rock samples were returned to the Earth by the Apollo and Luna programs. These provide most of our detailed knowledge of the Moon. They are particularly valuable in that they can be dated. Even today, more than 30 years after the last Moon landing, scientists still study these precious samples.

 

Most rocks on the surface of the Moon seem to be between 4.6 and 3 billion years old. This is a fortuitous match with the oldest terrestrial rocks which are rarely more than 3 billion years old. Thus the Moon provides evidence about the early history of the Solar System not available on the Earth.

 

Prior to the study of the Apollo samples, there was no consensus about the origin of the Moon. There were three principal theories: co-accretion which asserted that the Moon and the Earth formed at the same time from the Solar Nebula; fission which asserted that the Moon split off of the Earth; and capture which held that the Moon formed elsewhere and was subsequently captured by the Earth. None of these work very well. But the new and detailed information from the Moon rocks led to the impact theory: that the Earth collided with a very large object (as big as Mars or more) and that the Moon formed from the ejected material. There are still details to be worked out, but the impact theory is now widely accepted.

 

The Moon has no global magnetic field. But some of its surface rocks exhibit remanent magnetism indicating that there may have been a global magnetic field early in the Moon's history.

 

With no atmosphere and no magnetic field, the Moon's surface is exposed directly to the solar wind. Over its 4 billion year lifetime many ions from the solar wind have become embedded in the Moon's regolith. Thus samples of regolith returned by the Apollo missions proved valuable in studies of the solar wind.

13in diameter - MDF base

 

handmade ceramic lettering in Arabic - Allah meaning God

 

Glaze fused with glass and fired.

 

materials used: handmade ceramic tiles with gold mirrored glass and jade vitreous glass mosaic on surround, broken white china with glass nuggets & recycled jewellery on inside.

The jackfruit (Artocarpus heterophyllus), also known as jack tree, is a species of tree in the fig, mulberry, and breadfruit family (Moraceae). Its original distribution range is unknown but most authors place its center of origin to be within the region between the Western Ghats of southern India to the rainforests of Borneo.

 

The jackfruit tree is well-suited to tropical lowlands, and its fruit is the largest tree-borne fruit, reaching as much as 55 kg in weight, 90 cm in length, and 50 cm in diameter. A mature jackfruit tree can produce about 100 to 200 fruits in a year. The jackfruit is a multiple fruit, composed of hundreds to thousands of individual flowers, and the fleshy petals are eaten.

 

Jackfruit is commonly used in South and Southeast Asian cuisines. The ripe and unripe fruit and seeds are consumed. The jackfruit tree is a widely cultivated throughout tropical regions of the world. It is the national fruit of Bangladesh and Sri Lanka, and the state fruit of the Indian states of Kerala and Tamil Nadu.

 

ETYMOLOGY AND HISTORY

The word "jackfruit" comes from Portuguese jaca, which in turn is derived from the Malayalam language term chakka (Malayalam chakka pazham). When the Portuguese arrived in India at Kozhikode (Calicut) on the Malabar Coast (Kerala) in 1498, the Malayalam name ചക്ക (cakka) was recorded by Hendrik van Rheede (1678–1703) in the Hortus Malabaricus, vol. iii in Latin. Henry Yule translated the book in Jordanus Catalani's (f. 1321–1330) Mirabilia descripta: the wonders of the East. This term is in turn derived from the Proto-Dravidian root kā(y) ("fruit, vegetable").

 

The common English name "jackfruit" was used by physician and naturalist Garcia de Orta in his 1563 book Colóquios dos simples e drogas da India. Centuries later, botanist Ralph Randles Stewart suggested it was named after William Jack (1795–1822), a Scottish botanist who worked for the East India Company in Bengal, Sumatra, and Malaya.

 

The jackfruit was domesticated independently in South Asia and Southeast Asia, as evidenced by the fact that the Southeast Asian names for the fruit are not derived from the Sanskrit roots. It was probably first domesticated by Austronesians in Java or the Malay Peninsula. The word for jackfruit in Proto-Western-Malayo-Polynesian is reconstructed as *laŋkaq. Modern cognates include Javanese, Malay, Balinese, and Cebuano nangka; Tagalog, Pangasinan, Bikol and Ilocano langka; Chamorro lanka or nanka; Kelabit nakan; Wolio nangke; Ibaloi dangka; and Lun Dayeh laka. Note, however, that the fruit was only recently introduced to Guam via Filipino settlers when both were part of the Spanish Empire.

 

BOTANICAL DESCRIPTION

SHAPE, TRUNK AND LEAVES

Artocarpus heterophyllus grows as an evergreen tree that has a relatively short trunk with a dense treetop. It easily reaches heights of 10 to 20 meters and trunk diameters of 30 to 80 centimeters. It sometimes forms buttress roots. The bark of the jackfruit tree is reddish-brown and smooth. In the event of injury to the bark, a milky juice is released.

 

The leaves are alternate and spirally arranged. They are gummy and thick and are divided into a petiole and a leaf blade. The petiole is 1 to 3 inches long. The leathery leaf blade is 7 to 15 inches long, and 3 to 7 inches wide and is oblong to ovate in shape.

 

In young trees, the leaf edges are irregularly lobed or split. On older trees, the leaves are rounded and dark green, with a smooth leaf margin. The leaf blade has a prominent main nerve and starting on each side six to eight lateral nerves. The stipules are egg-shaped at a length of 1.5 to 8 centimeters.

 

FLOWERS AND FRUIT

The inflorescences are formed on the trunk, branches or twigs (caulifloria). Jackfruit trees are monoecious, that is there are both female and male flowers on a tree. The inflorescences are pedunculated, cylindrical to ellipsoidal or pear-shaped, to about 10-12 centimeters long and 5-7 centimeters wide. Inflorescences are initially completely enveloped in egg-shaped cover sheets which rapidly slough off.

 

The flowers are very small, there are several thousand flowers in an inflorescence, which sit on a fleshy rachis . The male flowers are greenish, some flowers are sterile. The male flowers are hairy and the perianth ends with two 1 to 1.5 millimeters membrane. The individual and prominent stamens are straight with yellow, roundish anthers. After the pollen distribution, the stamens become ash-gray and fall off after a few days. Later all the male inflorescences also fall off. The greenish female flowers, with hairy and tubular perianth, have a fleshy flower-like base. The female flowers contain an ovary with a broad, capitate or rarely bilobed scar. The blooming time ranges from December until February or March.

 

The ellipsoidal to roundish fruit is a multiple fruit formed from the fusion of the ovaries of multiple flowers. The fruits grow on a long and thick stem on the trunk. They vary in size and ripen from an initially yellowish-greenish to yellow, and then at maturity to yellowish-brown. They possess a hard, gummy shell with small pimples surrounded with hard, hexagonal tubercles. The very large and variously shaped fruit have a length of 30 to 100 centimeters and a diameter of 15 to 50 centimeters and can weigh 10-25 kilograms or more.

 

The fruits consist of a fibrous, whitish core (rachis) about 5-10 centimeters thick. Radiating from this are many 10 centimeter long individual fruits. They are elliptical to egg-shaped, light brownish achenes with a length of about 3 centimeters and a diameter of 1.5 to 2 centimeters.

 

There may be about 100-500 seeds per fruit. The seed coat consists of a thin, waxy, parchment-like and easily removable testa (husk) and a brownish, membranous tegmen. The cotyledons are usually unequal in size, the endosperm is minimally present.

 

The fruit matures during the rainy season from July to August. The bean-shaped achenes of the jackfruit are coated with a firm yellowish aril (seed coat, flesh), which has an intense sweet taste at maturity of the fruit. The pulp is enveloped by many narrow strands of fiber (undeveloped perianth), which run between the hard shell and the core of the fruit and are firmly attached to it. When pruned, the inner part (core) secretes a very sticky, milky liquid, which can hardly be removed from the skin, even with soap and water. To clean the hands after "unwinding" the pulp an oil or other solvent is used. For example, street vendors in Tanzania, who sell the fruit in small segments, provide small bowls of kerosene for their customers to cleanse their sticky fingers.

 

An average fruit consists of 27% edible seed coat, 15% edible seeds, 20% white pulp (undeveloped perianth, rags) and bark and 10% core.

 

The number of chromosomes is 2n = 56.

 

AS FOOD

Ripe jackfruit is naturally sweet, with subtle flavoring. It can be used to make a variety of dishes, including custards, cakes, or mixed with shaved ice as es teler in Indonesia or halo-halo in the Philippines. For the traditional breakfast dish in southern India, idlis, the fruit is used with rice as an ingredient and jackfruit leaves are used as a wrapping for steaming. Jackfruit dosas can be prepared by grinding jackfruit flesh along with the batter. Ripe jackfruit arils are sometimes seeded, fried, or freeze-dried and sold as jackfruit chips.

 

The seeds from ripe fruits are edible, and are said to have a milky, sweet taste often compared to Brazil nuts. They may be boiled, baked, or roasted. When roasted, the flavor of the seeds is comparable to chestnuts. Seeds are used as snacks (either by boiling or fire-roasting) or to make desserts. In Java, the seeds are commonly cooked and seasoned with salt as a snack. They are quite commonly used in curry in India in the form of a traditional lentil and vegetable mix curry.

 

AROMA

Jackfruit has a distinctive sweet and fruity aroma. In a study of flavour volatiles in five jackfruit cultivars, the main volatile compounds detected were ethyl isovalerate, propyl isovalerate, butyl isovalerate, isobutyl isovalerate, 3-methylbutyl acetate, 1-butanol, and 2-methylbutan-1-ol.

 

A fully ripe and unopened jackfruit is known to "emit a strong aroma", with the inside of the fruit described as smelling of pineapple and banana. After roasting, the seeds may be used as a commercial alternative to chocolate aroma.

 

NUTRITIONAL VALUE

The flesh of the jackfruit is starchy and fibrous and is a source of dietary fiber. The pulp is composed of 74% water, 23% carbohydrates, 2% protein, and 1% fat. In a 100-g portion, raw jackfruit provides 400 kJ (95 kcal) and is a rich source (20% or more of the Daily Value, DV) of vitamin B6 (25% DV). It contains moderate levels (10-19% DV) of vitamin C and potassium, with no other nutrients in significant content.

 

The jackfruit also provides a potential part of the solution for tropical countries facing problems with food security, such as several countries of Africa.

 

CULINARY USES

The flavor of the ripe fruit is comparable to a combination of apple, pineapple, mango, and banana. Varieties are distinguished according to characteristics of the fruit flesh. In Indochina, the two varieties are the "hard" version (crunchier, drier, and less sweet, but fleshier), and the "soft" version (softer, moister, and much sweeter, with a darker gold-color flesh than the hard variety). Unripe jackfruit has a mild flavor and meat-like texture and is used in curry dishes with spices in many cuisines. The skin of unripe jackfruit must be peeled first, then the remaining jackfruit flesh is chopped in a labor-intensive process into edible portions and cooked before serving.

 

The cuisines of many Asian countries use cooked young jackfruit. In many cultures, jackfruit is boiled and used in curries as a staple food. The boiled young jackfruit is used in salads or as a vegetable in spicy curries and side dishes, and as fillings for cutlets and chops. It may be used by vegetarians as a substitute for meat such as pulled pork. It may be cooked with coconut milk and eaten alone or with meat, shrimp or smoked pork. In southern India, unripe jackfruit slices are deep-fried to make chips.

 

SOUTH ASIA

In Bangladesh, the fruit is consumed on its own. The unripe fruit is used in curry, and the seed is often dried and preserved to be later used in curry. In India, two varieties of jackfruit predominate: muttomvarikka and sindoor. Muttomvarikka has a slightly hard inner flesh when ripe, while the inner flesh of the ripe sindoor fruit is soft.

 

A sweet preparation called chakkavaratti (jackfruit jam) is made by seasoning pieces of muttomvarikka fruit flesh in jaggery, which can be preserved and used for many months. The fruits are either eaten alone or as a side to rice. The juice is extracted and either drunk straight or as a side. The juice is sometimes condensed and eaten as candies. The seeds are either boiled or roasted and eaten with salt and hot chilies. They are also used to make spicy side dishes with rice. Jackfruit may be ground and made into a paste, then spread over a mat and allowed to dry in the sun to create a natural chewy candy.

 

SOUTHEAST ASIA

In Indonesia and Malaysia, jackfruit is called nangka. The ripe fruit is usually sold separately and consumed on its own, or sliced and mixed with shaved ice as a sweet concoction dessert such as es campur and es teler. The ripe fruit might be dried and fried as kripik nangka, or jackfruit cracker. The seeds are boiled and consumed with salt, as they contains edible starchy content; this is called beton. Young (unripe) jackfruit is made into curry called gulai nangka or stewed called gudeg.

 

In the Philippines, jackfruit is called langka in Filipino and nangkà in Cebuano. The unripe fruit is usually cooked in coconut milk and eaten with rice; this is called ginataang langka. The ripe fruit is often an ingredient in local desserts such as halo-halo and the Filipino turon. The ripe fruit, besides also being eaten raw as it is, is also preserved by storing in syrup or by drying. The seeds are also boiled before being eaten.

 

Thailand is a major producer of jackfruit, which are often cut, prepared, and canned in a sugary syrup (or frozen in bags or boxes without syrup) and exported overseas, frequently to North America and Europe.

 

In Vietnam, jackfruit is used to make jackfruit chè, a sweet dessert soup, similar to the Chinese derivative bubur cha cha. The Vietnamese also use jackfruit purée as part of pastry fillings or as a topping on xôi ngọt (a sweet version of sticky rice portions).

 

Jackfruits are found primarily in the eastern part of Taiwan. The fresh fruit can be eaten directly or preserved as dried fruit, candied fruit, or jam. It is also stir-fried or stewed with other vegetables and meat.

 

AMERICAS

In Brazil, three varieties are recognized: jaca-dura, or the "hard" variety, which has a firm flesh, and the largest fruits that can weigh between 15 and 40 kg each; jaca-mole, or the "soft" variety, which bears smaller fruits with a softer and sweeter flesh; and jaca-manteiga, or the "butter" variety, which bears sweet fruits whose flesh has a consistency intermediate between the "hard" and "soft" varieties.

 

AFRICA

From a tree planted for its shade in gardens, it became an ingredient for local recipes using different fruit segments. The seeds are boiled in water or roasted to remove toxic substances, and then roasted for a variety of desserts. The flesh of the unripe jackfruit is used to make a savory salty dish with smoked pork. The jackfruit arils are used to make jams or fruits in syrup, and can also be eaten raw.

 

WOOD AND MANUFACTURING

The golden yellow timber with good grain is used for building furniture and house construction in India. It is termite-proof and is superior to teak for building furniture. The wood of the jackfruit tree is important in Sri Lanka and is exported to Europe. Jackfruit wood is widely used in the manufacture of furniture, doors and windows, in roof construction, and fish sauce barrels.

 

The wood of the tree is used for the production of musical instruments. In Indonesia, hardwood from the trunk is carved out to form the barrels of drums used in the gamelan, and in the Philippines, its soft wood is made into the body of the kutiyapi, a type of boat lute. It is also used to make the body of the Indian string instrument veena and the drums mridangam, thimila, and kanjira.

 

CULTURAL SIGNIFICANCE

The jackfruit has played a significant role in Indian agriculture for centuries. Archeological findings in India have revealed that jackfruit was cultivated in India 3000 to 6000 years ago. It has also been widely cultivated in Southeast Asia.

 

The ornate wooden plank called avani palaka, made of the wood of the jackfruit tree, is used as the priest's seat during Hindu ceremonies in Kerala. In Vietnam, jackfruit wood is prized for the making of Buddhist statues in temples The heartwood is used by Buddhist forest monastics in Southeast Asia as a dye, giving the robes of the monks in those traditions their distinctive light-brown color.

 

Jackfruit is the national fruit of Bangladesh, and the state fruit of the Indian states of Kerala and Tamil Nadu.

 

CULTIVATION

In terms of taking care of the plant, minimal pruning is required; cutting off dead branches from the interior of the tree is only sometimes needed. In addition, twigs bearing fruit must be twisted or cut down to the trunk to induce growth for the next season. Branches should be pruned every three to four years to maintain productivity.

 

Some trees carry too many mediocre fruits and these are usually removed to allow the others to develop better to maturity.

 

Stingless bees such as Tetragonula iridipennis are jackfruit pollinators, so play an important role in jackfruit cultivation.

Production and marketing

 

In 2017, India produced 1.4 million tonnes of jackfruit, followed by Bangladesh, Thailand, and Indonesia.

 

The marketing of jackfruit involves three groups: producers, traders, and middlemen, including wholesalers and retailers. The marketing channels are rather complex. Large farms sell immature fruit to wholesalers, which helps cash flow and reduces risk, whereas medium-sized farms sell the fruit directly to local markets or retailers.

 

COMMERCIAL AVAILABILITY

Outside countries of origin, fresh jackfruit can be found at food markets throughout Southeast Asia. It is also extensively cultivated in the Brazilian coastal region, where it is sold in local markets. It is available canned in sugary syrup, or frozen, already prepared and cut. Jackfruit industries are established in Sri Lanka and Vietnam, where the fruit is processed into products such as flour, noodles, papad, and ice cream. It is also canned and sold as a vegetable for export.

 

Jackfruit is also widely available year-round, both canned and dried. Dried jackfruit chips are produced by various manufacturers.

 

INVASIVE SPECIES

In Brazil, the jackfruit can become an invasive species as in Brazil's Tijuca Forest National Park in Rio de Janeiro. The Tijuca is mostly an artificial secondary forest, whose planting began during the mid-nineteenth century; jackfruit trees have been a part of the park's flora since it was founded.

 

Recently, the species has expanded excessively, and its fruits, which naturally fall to the ground and open, are eagerly eaten by small mammals, such as the common marmoset and coati. The seeds are dispersed by these animals; this allows the jackfruit to compete for space with native tree species. Additionally the supply of jackfruit has allowed the marmoset and coati populations to expand. Since both prey opportunistically on birds' eggs and nestlings, increases in marmoset or coati population are detrimental for local bird populations.

 

WIKIPEDIA

Staggered fitment with reverse staggered diameter.

 

wheels:

Front: 19x11" ET38

Rear: 18x12.5" ET52

 

Tires:

Front: 285/30ZR-19 Continental ExtremeContact Sport XL

 

Rear: 335/30R-18 Toyo Proxes R888R SL

High Roller is a 550-foot tall (167.6 m), 520-foot (158.5 m) diameter giant Ferris wheel on the Las Vegas Strip in Paradise, Nevada, US.

 

It opened to the public on March 31, 2014, and is the world's tallest Ferris wheel. It is 9 ft (2.7 m) taller than its predecessor, the 541-foot (165 m) Singapore Flyer, which held the record since it opened in 2008.

 

High Roller was announced in August 2011 as the centerpiece of Caesars Entertainment Corporation's $550 million The LINQ. Arup Engineering, which previously consulted on the Singapore Flyer, acted as the structural engineer.

 

The wheel rotates on a pair of custom-designed spherical roller bearings, each weighing approximately 19,400 lb (8,800 kg). Each bearing has an outer diameter of 7.55 feet (2.30 m), an inner bore of 5.25 feet (1.60 m), and a width of 2.07 feet (0.63 m).

 

The outer rim comprises 28 sections, each 56 feet (17 m) long, which were temporarily held in place during construction by a pair of 275-foot (84 m) radial struts, prior to being permanently secured by four cables.

The passenger cabins (or capsules) are mounted on the wheel's outboard rim and are individually rotated by electric motors to smoothly maintain a horizontal cabin floor throughout each full rotation. Preliminary designs anticipated 32 passenger cabins, each with a 40 passenger capacity—with the final design accommodating 28 40-person cabins and a total capacity of 1,120 passengers.

 

Each 225-square-foot (20.9 m2) cabin weighs approximately 44,000 pounds (20,000 kg), has a diameter of 22 feet (6.7 m), includes 300 square feet (28 m2) of glass, and is equipped with eight flat-screen televisions and an iPod dock.

 

At night the wheel is illuminated by a 2,000-LED system which can display a single solid color, differently colored sections, multiple colors moving around the rim, and custom displays for special events and holidays.

 

en.wikipedia.org/wiki/High_Roller_(Ferris_wheel)

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

Captured 9 Jan 2021, 22:41 hrs ET, Springfield, VA, USA. Bortle 8 skies, Mallincam DS10C camera, Celestron 8 inch SCT f6.1, exposure 60 sec, gain 60, bin 1, stack of 30 light frames, Optolong Lenhance filter.

 

Clouds: clear

Seeing: 40

Transparency: 20

Moon phase: 17%

 

FOV: 43 x 34 arcmin

Resolution: 1.25 arcsec/pixel

Orientation: Up is South.

 

Apparent magnitude: +8.4

Apparent size: 7 arcmin

 

Appearance: an oval shaped object with crenelations like a brain. The Crab Pulsar (neutron star, not resolved in this image) -- only 18 miles in diameter -- is the center/cause of the nebula.

 

Note: The star trails were produced by wind gusts buffeting the telescope, and gear backlash and neutral balance in RA axis.

Processing: Re-processed in Siril 1.02 on 20 May 2023. New workflow provided better result. Siril: autostretch, crop out worst corners, background extraction, remove green noise. Photoshop: separated star and starless layers for processing (StarXterminator), NoiseXterminator, levels, curves, Topaz.

 

From Wikipedia:

The Crab Nebula (catalogue designations M1, NGC 1952, Taurus A) is a supernova remnant and pulsar wind nebula in the constellation of Taurus. The nebula was the first astronomical object identified that corresponds with a historical supernova explosion. The common name comes from William Parsons, 3rd Earl of Rosse, who observed the object in 1840 using a 36-inch telescope and produced a drawing that looked somewhat like a crab.

 

At an apparent magnitude of 8.4, comparable to that of Saturn's moon Titan, it is not visible to the naked eye but can be made out using binoculars under favourable conditions. The nebula lies in the Perseus Arm of the Milky Way galaxy, at a distance of about 2.0 kiloparsecs (6,500 ly) from Earth. It has a diameter of 3.4 parsecs (11 ly), corresponding to an apparent diameter of some 7 arcminutes, and is expanding at a rate of about 1,500 kilometres per second (930 mi/s), or 0.5% of the speed of light.

 

At the center of the nebula lies the Crab Pulsar, a neutron star 28–30 kilometres (17–19 mi) across with a spin rate of 30.2 times per second, which emits pulses of radiation from gamma rays to radio waves. At X-ray and gamma ray energies above 30 keV, the Crab Nebula is generally the brightest persistent gamma-ray source in the sky, with measured flux extending to above 10 TeV. The nebula's radiation allows detailed study of celestial bodies that occult it. In the 1950s and 1960s, the Sun's corona was mapped from observations of the Crab Nebula's radio waves passing through it, and in 2003, the thickness of the atmosphere of Saturn's moon Titan was measured as it blocked X-rays from the nebula.

 

Modern understanding that the Crab Nebula was created by a supernova traces back to 1921, when Carl Otto Lampland announced he had seen changes in the nebula's structure. This eventually led to the conclusion that the creation of the Crab Nebula corresponds to the bright SN 1054 supernova recorded by ancient astronomers in AD 1054.

 

The Crab Nebula was first identified in 1731 by John Bevis, and was independently rediscovered in 1758 by Charles Messier. Messier catalogued it as the first entry in his catalogue of comet-like objects. In 1757, Alexis Clairaut reexamined the calculations of Edmund Halley and predicted the return of Halley's Comet in late 1758. The exact time of the comet's return required the consideration of perturbations to its orbit caused by planets in the Solar System such as Jupiter, which Clairaut and his two colleagues Jérôme Lalande and Nicole-Reine Lepaute carried out more precisely than Halley, finding that the comet should appear in the constellation of Taurus. While searching in vain for the comet, Messier found the Crab Nebula, which he mis-identified as Halley's comet. After some observation, noticing that his target was not moving across the sky, Messier concluded that the object was not a comet. Messier then realised the usefulness of compiling a catalogue of celestial objects of a cloudy nature, but fixed in the sky, to avoid incorrectly cataloguing them as comets. This realization led him to compile the "Messier catalogue."

 

William Herschel observed the Crab Nebula numerous times between 1783 and 1809, but it is not known whether he was aware of its existence in 1783, or if he discovered it independently of Messier and Bevis. After several observations, he concluded that it was composed of a group of stars. William Parsons, 3rd Earl of Rosse observed the nebula at Birr Castle in 1844 using a 36-inch (0.9 m) telescope, and referred to the object as the "Crab Nebula" because a drawing he made of it looked like a crab. He observed it again later, in 1848, using a 72-inch (1.8 m) telescope and could not confirm the supposed resemblance, but the name stuck nevertheless.

 

The Crab Nebula was the first astronomical object recognized as being connected to a supernova explosion. In the early twentieth century, the analysis of early photographs of the nebula taken several years apart revealed that it was expanding. Tracing the expansion back revealed that the nebula must have become visible on Earth about 900 years before. Historical records revealed that a new star bright enough to be seen in the daytime had been recorded in the same part of the sky by Chinese astronomers on 4 July 1054, and probably also by Japanese observers.

 

In 1913, when Vesto Slipher registered his spectroscopy study of the sky, the Crab Nebula was again one of the first objects to be studied. Changes in the cloud, suggesting its small extent, were discovered by Carl Lampland in 1921. That same year, John Charles Duncan demonstrated that the remnant is expanding, while Knut Lundmark noted its proximity to the guest star of 1054.

 

In 1928, Edwin Hubble proposed associating the cloud to the star of 1054, an idea which remained controversial until the nature of supernovae was understood, and it was Nicholas Mayall who indicated that the star of 1054 was undoubtedly the supernova whose explosion produced the Crab Nebula. The search for historical supernovae started at that moment: seven other historical sightings have been found by comparing modern observations of supernova remnants with astronomical documents of past centuries.

 

After the original connection to Chinese observations, in 1934 connections were made to a 13th-century Japanese reference to a "guest star" in Meigetsuki a few weeks before the Chinese reference. The event was long considered unrecorded in Islamic astronomy, but in 1978 a reference was found in a 13th-century copy made by Ibn Abi Usaibia of a work by Ibn Butlan, a Nestorian Christian physician active in Baghdad at the time of the supernova.

 

Given its great distance, the daytime "guest star" observed by the Chinese could only have been a supernova—a massive, exploding star, having exhausted its supply of energy from nuclear fusion and collapsed in on itself. Recent analysis of historical records have found that the supernova that created the Crab Nebula probably appeared in April or early May, rising to its maximum brightness of between apparent magnitude −7 and −4.5 (brighter even than Venus' −4.2 and everything in the night sky except the Moon) by July. The supernova was visible to the naked eye for about two years after its first observation.

 

In the 1960s, because of the prediction and discovery of pulsars, the Crab Nebula again became a major center of interest. It was then that Franco Pacini predicted the existence of the Crab Pulsar for the first time, which would explain the brightness of the cloud. The star was observed shortly afterwards in 1968.[26] The discovery of the Crab pulsar, and the knowledge of its exact age (almost to the day) allows for the verification of basic physical properties of these objects, such as characteristic age and spin-down luminosity, the orders of magnitude involved (notably the strength of the magnetic field), along with various aspects related to the dynamics of the remnant. The role of this supernova to the scientific understanding of supernova remnants was crucial, as no other historical supernova created a pulsar whose precise age is known for certain. The only possible exception to this rule would be SN 1181 whose supposed remnant, 3C 58, is home to a pulsar, but its identification using Chinese observations from 1181 is contested.[27]

 

The inner part of the Crab Nebula is dominated by a pulsar wind nebula enveloping the pulsar. Some sources consider the Crab Nebula to be an example of both a pulsar wind nebula as well as a supernova remnant, while others separate the two phenomena based on the different sources of energy production and behaviour.

 

In 2019 the Crab Nebula was observed to emit gamma rays in excess of 100 TeV, making it the first identified source beyond 100 TeV.

 

Hubble image of a small region of the Crab Nebula, showing Rayleigh–Taylor instabilities in its intricate filamentary structure.

In visible light, the Crab Nebula consists of a broadly oval-shaped mass of filaments, about 6 arcminutes long and 4 arcminutes wide (by comparison, the full moon is 30 arcminutes across) surrounding a diffuse blue central region. In three dimensions, the nebula is thought to be shaped either like an oblate spheroid (estimated as 1,380 pc/4,500 ly away) or a prolate spheroid (estimated as 2,020 pc/6,600 ly away).[3] The filaments are the remnants of the progenitor star's atmosphere, and consist largely of ionised helium and hydrogen, along with carbon, oxygen, nitrogen, iron, neon and sulfur. The filaments' temperatures are typically between 11,000 and 18,000 K, and their densities are about 1,300 particles per cm3.[32]

 

In 1953, Iosif Shklovsky proposed that the diffuse blue region is predominantly produced by synchrotron radiation, which is radiation given off by the curving motion of electrons in a magnetic field. The radiation corresponded to electrons moving at speeds up to half the speed of light. Three years later the theory was confirmed by observations. In the 1960s it was found that the source of the curved paths of the electrons was the strong magnetic field produced by a neutron star at the centre of the nebula.

 

Even though the Crab Nebula is the focus of much attention among astronomers, its distance remains an open question, owing to uncertainties in every method used to estimate its distance. In 2008, the consensus was that its distance from Earth is 2.0 ± 0.5 kpc (6,500 ± 1,600 ly). Along its longest visible dimension, it thus measures about 4.1 ± 1 pc (13 ± 3 ly) across.

 

The Crab Nebula currently is expanding outward at about 1,500 km/s (930 mi/s). Images taken several years apart reveal the slow expansion of the nebula, and by comparing this angular expansion with its spectroscopically determined expansion velocity, the nebula's distance can be estimated. In 1973, an analysis of many methods used to compute the distance to the nebula had reached a conclusion of about 1.9 kpc (6,300 ly), consistent with the currently cited value.

 

The Crab Pulsar itself was discovered in 1968. Tracing back its expansion (assuming a constant decrease of expansion speed due to the nebula's mass) yielded a date for the creation of the nebula several decades after 1054, implying that its outward velocity has decelerated less than assumed since the supernova explosion. This reduced deceleration is believed to be caused by energy from the pulsar that feeds into the nebula's magnetic field, which expands and forces the nebula's filaments outward.

 

Estimates of the total mass of the nebula are important for estimating the mass of the supernova's progenitor star. The amount of matter contained in the Crab Nebula's filaments (ejecta mass of ionized and neutral gas; mostly helium) is estimated to be 4.6±1.8 M☉.

 

One of the many nebular components (or anomalies) of the Crab Nebula is a helium-rich torus which is visible as an east–west band crossing the pulsar region. The torus composes about 25% of the visible ejecta. However, it is suggested by calculation that about 95% of the torus is helium. As yet, there has been no plausible explanation put forth for the structure of the torus.

 

Data from orbiting observatories show unexpected variations in the Crab Nebula's X-ray output, likely tied to the environment around its central neutron star.

 

At the center of the Crab Nebula are two faint stars, one of which is the star responsible for the existence of the nebula. It was identified as such in 1942, when Rudolf Minkowski found that its optical spectrum was extremely unusual. The region around the star was found to be a strong source of radio waves in 1949 and X-rays in 1963, and was identified as one of the brightest objects in the sky in gamma rays in 1967. Then, in 1968, the star was found to be emitting its radiation in rapid pulses, becoming one of the first pulsars to be discovered.

 

Pulsars are sources of powerful electromagnetic radiation, emitted in short and extremely regular pulses many times a second. They were a great mystery when discovered in 1967, and the team who identified the first one considered the possibility that it could be a signal from an advanced civilization. However, the discovery of a pulsating radio source in the centre of the Crab Nebula was strong evidence that pulsars were formed by supernova explosions. They now are understood to be rapidly rotating neutron stars, whose powerful magnetic field concentrates their radiation emissions into narrow beams.

 

The Crab Pulsar is believed to be about 28–30 km (17–19 mi) in diameter; it emits pulses of radiation every 33 milliseconds. Pulses are emitted at wavelengths across the electromagnetic spectrum, from radio waves to X-rays. Like all isolated pulsars, its period is slowing very gradually. Occasionally, its rotational period shows sharp changes, known as 'glitches', which are believed to be caused by a sudden realignment inside the neutron star. The energy released as the pulsar slows down is enormous, and it powers the emission of the synchrotron radiation of the Crab Nebula, which has a total luminosity about 75,000 times greater than that of the Sun.

 

The pulsar's extreme energy output creates an unusually dynamic region at the centre of the Crab Nebula. While most astronomical objects evolve so slowly that changes are visible only over timescales of many years, the inner parts of the Crab Nebula show changes over timescales of only a few days. The most dynamic feature in the inner part of the nebula is the point where the pulsar's equatorial wind slams into the bulk of the nebula, forming a shock front. The shape and position of this feature shifts rapidly, with the equatorial wind appearing as a series of wisp-like features that steepen, brighten, then fade as they move away from the pulsar to well out into the main body of the nebula.

 

The star that exploded as a supernova is referred to as the supernova's progenitor star. Two types of stars explode as supernovae: white dwarfs and massive stars. In the so-called Type Ia supernovae, gases falling onto a 'dead' white dwarf raise its mass until it nears a critical level, the Chandrasekhar limit, resulting in a runaway nuclear fusion explosion that obliterates the star; in Type Ib/c and Type II supernovae, the progenitor star is a massive star whose core runs out of fuel to power its nuclear fusion reactions and collapses in on itself, releasing gravitational potential energy in a form that blows away the star's outer layers. Type Ia supernovae do not produce pulsars. so the pulsar in the Crab Nebula shows it must have formed in a core-collapse supernova.

 

Theoretical models of supernova explosions suggest that the star that exploded to produce the Crab Nebula must have had a mass of between 9 and 11 M☉. Stars with masses lower than 8 M☉ are thought to be too small to produce supernova explosions, and end their lives by producing a planetary nebula instead, while a star heavier than 12 M☉ would have produced a nebula with a different chemical composition from that observed in the Crab Nebula. Recent studies, however, suggest the progenitor could have been a super-asymptotic giant branch star in the 8 to 10 M☉ range that would have exploded in an electron-capture supernova.

 

A significant problem in studies of the Crab Nebula is that the combined mass of the nebula and the pulsar add up to considerably less than the predicted mass of the progenitor star, and the question of where the 'missing mass' is, remains unresolved.[41] Estimates of the mass of the nebula are made by measuring the total amount of light emitted, and calculating the mass required, given the measured temperature and density of the nebula. Estimates range from about 1–5 M☉, with 2–3 M☉ being the generally accepted value. The neutron star mass is estimated to be between 1.4 and 2 M☉.

 

The predominant theory to account for the missing mass of the Crab Nebula is that a substantial proportion of the mass of the progenitor was carried away before the supernova explosion in a fast stellar wind, a phenomenon commonly seen in Wolf–Rayet stars. However, this would have created a shell around the nebula. Although attempts have been made at several wavelengths to observe a shell, none has yet been found.

 

The Crab Nebula lies roughly 1.5 degrees away from the ecliptic—the plane of Earth's orbit around the Sun. This means that the Moon—and occasionally, planets—can transit or occult the nebula. Although the Sun does not transit the nebula, its corona passes in front of it. These transits and occultations can be used to analyse both the nebula and the object passing in front of it, by observing how radiation from the nebula is altered by the transiting body.

 

Lunar transits have been used to map X-ray emissions from the nebula. Before the launch of X-ray-observing satellites, such as the Chandra X-ray Observatory, X-ray observations generally had quite low angular resolution, but when the Moon passes in front of the nebula, its position is very accurately known, and so the variations in the nebula's brightness can be used to create maps of X-ray emission. When X-rays were first observed from the Crab Nebula, a lunar occultation was used to determine the exact location of their source.

 

The Sun's corona passes in front of the Crab Nebula every June. Variations in the radio waves received from the Crab Nebula at this time can be used to infer details about the corona's density and structure. Early observations established that the corona extended out to much greater distances than had previously been thought; later observations found that the corona contained substantial density variations.

 

Very rarely, Saturn transits the Crab Nebula. Its transit on 4 January 2003 (UTC) was the first since 31 December 1295 (O.S.); another will not occur until 5 August 2267. Researchers used the Chandra X-ray Observatory to observe Saturn's moon Titan as it crossed the nebula, and found that Titan's X-ray 'shadow' was larger than its solid surface, due to absorption of X-rays in its atmosphere. These observations showed that the thickness of Titan's atmosphere is 880 km (550 mi). The transit of Saturn itself could not be observed, because Chandra was passing through the Van Allen belts at the time.

The jackfruit is a species of tree in the Artocarpus genus of the mulberry family (Moraceae). It is native to parts of South and Southeast Asia, and is believed to have originated in the southwestern rain forests of India, in present-day Kerala, in Tamil Nadu (in Panruti ), coastal Karnataka and Maharashtra. The jackfruit tree is well suited to tropical lowlands, and its fruit is the largest tree-borne fruit, reaching as much as 36 kg in weight, 90 cm in length, and 50 cm in diameter.

 

The jackfruit tree is a widely cultivated and popular food item in tropical regions of India, Bangladesh, Nepal, Sri Lanka, Cambodia, Vietnam, Thailand, Malaysia, Indonesia, and the Philippines. Jackfruit is also found across Africa (e.g., in Cameroon, Uganda, Tanzania, Madagascar, and Mauritius), as well as throughout Brazil and in Caribbean nations such as Jamaica. Jackfruit is the national fruit of Bangladesh.

 

The jackfruit has played a significant role in Indian agriculture for centuries. Archeological findings in India have revealed that jackfruit was cultivated in India 3000 to 6000 years ago. It is also widely cultivated in southeast Asia.

 

Thailand and Vietnam are major producers of jackfruit, a lot of which are cut, prepared and canned in a sugary syrup (or frozen in bags/boxes without syrup), and exported overseas, frequently to North America and Europe.

 

In other areas, the jackfruit is considered an invasive species as in Brazil's Tijuca Forest National Park in Rio de Janeiro. The Tijuca is mostly an artificial secondary forest, whose planting began during the mid-19th century, and jackfruit trees have been a part of the park's flora since its founding. Recently, the species has expanded excessively; its fruits, which naturally fall to the ground and open, are eagerly eaten by small mammals such as the common marmoset and coati. The seeds are dispersed by these animals, which allows the jackfruit to compete for space with native tree species. Additionally, as the marmoset and coati also prey opportunistically on bird's eggs and nestlings, the supply of jackfruit as a ready source of food has allowed them to expand their populations, to the detriment of the local bird populations. Between 2002 and 2007, 55,662 jackfruit saplings were destroyed in the Tijuca Forest area in a deliberate culling effort by the park's management.

 

AROMA

Jackfruit are known for having a distinct aroma. In a study using five jackfruit cultivars, the main jackfruit volatile compounds that were detected are: ethyl isovalerate, 3-methylbutyl acetate, 1-butanol, propyl isovalerate, isobutyl isovalerate, 2-methylbutanol, and butyl isovalerate. These compounds were consistently present in all the five cultivars studied, suggesting that these esters and alcohols contributed to the sweet and fruity aroma of jackfruit.

 

The flesh of the jackfruit is starchy and fibrous and is a source of dietary fiber. The flavor is comparable to a combination of apple, pineapple, mango and banana. Varieties are distinguished according to characteristics of the fruit's flesh. In Brazil, three varieties are recognized: jaca-dura, or the "hard" variety, which has a firm flesh and the largest fruits that can weigh between 15 and 40 kilograms each, jaca-mole, or the "soft" variety, which bears smaller fruits with a softer and sweeter flesh, and jaca-manteiga, or the "butter" variety, which bears sweet fruits whose flesh has a consistency intermediate between the "hard" and "soft" varieties. In Indochina, there are 2 varieties, being the "hard" version (more crunchy, drier and less sweet but fleshier), and the "soft" version (more soft, moister, much sweeter with a darker gold-color flesh than the hard variety).

 

In Kerala, two varieties of jackfruit predominate: varikka (വരിക്ക) and koozha (കൂഴ). Varikka has a slightly hard inner flesh when ripe, while the inner flesh of the ripe koozha fruit is very soft and almost dissolving. A sweet preparation called chakka varattiyathu (jackfruit jam) is made by seasoning pieces of varikka fruit flesh in jaggery, which can be preserved and used for many months. Huge jackfruits up to four feet in length with a corresponding girth are sometimes seen in Kerala.

 

In West Bengal the two varieties are called khaja kathal and moja kathal. The fruits are either eaten alone or as a side to rice / roti / chira / muri. Sometimes the juice is extracted and either drunk straight or as a side with muri. The extract is sometimes condensed into rubbery delectables and eaten as candies. The seeds are either boiled or roasted and eaten with salt and hot chillies. They are also used to make spicy side-dishes with rice or roti.

 

In Mangalore, Karnataka, the varieties are called bakke and imba. The pulp of the imba jackfruit is ground and made into a paste, then spread over a mat and allowed to dry in the sun to create a natural chewy candy.

 

The young fruit is called polos in Sri Lanka and idichakka or idianchakka in Kerala.

 

In Indochina, jackfruit is a frequent ingredient in sweets and desserts. In Vietnam, jackfruit is used to make jackfruit Chè (chè is a sweet dessert soup, similar to the Chinese derivative, bubur chacha). The Vietnamese also use jackfruit puree as part of pastry fillings, or as a topping on Xôi ngọt (sweet version of sticky rice portions).

 

NUTRITION

The edible jackfruit is made of soft, easily-digestible flesh (bulbs); A portion of 100 g of edible raw jackfruit provides about 95 calories and is a good source of the antioxidant vitamin C, providing about 13.7 mg.[23] Jackfruit seeds are rich in protein. The fruit is also rich in potassium, calcium, and iron.

 

WOOD

The wood of the tree is used for the production of musical instruments. In Indonesia, hardwood from the trunk is carved out to form the barrels of drums used in the gamelan, and in the Philippines its soft wood is made into the body of the kutiyapi, a type of boat lute. It is also used to make the body of the Indian string instrument veena and the drums mridangam, thimila and kanjira; the golden, yellow timber with good grains is used for building furniture and house construction in India. The ornate wooden plank called avani palaka made of the wood of jackfruit tree is used as the priest's seat during Hindu ceremonies in Kerala. In Vietnam, jackfruit wood is prized for the making of Buddhist statuaries in temples.

 

Jackfruit wood is widely used in the manufacture of furniture, doors and windows, and in roof construction. The heartwood is used by Buddhist forest monastics in Southeast Asia as a dye, giving the robes of the monks in those traditions their distinctive light-brown color.

 

COMMERVIAL AVAILABILITY

Outside of its countries of origin, fresh jackfruit can be found at Asian food markets, especially in the Philippines, Thailand, Vietnam, Malaysia, Cambodia, and Bangladesh. It is also extensively cultivated in the Brazilian coastal region, where it is sold in local markets. It is available canned in sugary syrup, or frozen, already prepared and cut. Dried jackfruit chips are produced by various manufacturers. In northern Australia, particularly in Darwin, jackfruit can be found at outdoor produce markets during the dry season. Outside of countries where it is grown, jackfruit can be obtained year-round both canned or dried. It has a ripening season in Asia of late spring to late summer.

 

There are established jackfruit industries in Sri Lanka and Vietnam, where the fruit is processed into products such as flour, noodles, papad and ice cream. It is also canned and sold as a vegetable for export.

 

The jackfruit is one of the three auspicious fruits of Tamil Nadu, along with the mango and banana, known as the mukkani (முக்கனி). These are referred to as ma-pala-vaazhai (mango-jack-banana). The three fruits (mukkani) are also related to the three arts of Tamil (mu-Tamizh). Jackfruit is the national fruit of Bangladesh. It is also the state fruit of the Indian state of Kerala.

 

WIKIPEDIA

Goodyear Corsair FG-1D (G-FGID)

 

When the Chance Vought FG-1D Corsair was introduced in 1940 it boasted the most powerful engine along with the largest diameter propeller of any fighter aircraft in history. The result of this engine and propeller combination was the first fighter to exceed 400mph. Corsairs were built right up to 1952, giving the type the honour of having the longest production run of any American piston-engined fighter.

 

The first service engagement for the Corsair was with the US Marine Corps operating from makeshift land bases across the Pacific, and it was not until later that she was operated from aircraft carriers initially with the British Fleet Air Arm. The Corsair proved to be a formidable air superiority fighter during World War II when she was the scourge of the skies across the Pacific, and continued to deliver sterling service in later years during the Korean War.

 

Our Corsair was built under licence by the Goodyear Aircraft Corporation at their facility in Akron, Ohio and allocated Bu No 88297. She was accepted by the US Navy on 9th April 1945 and delivered a mere two days later. She was initially dispatched to Guam in the Pacific, being allocated to the Aircraft Pool Airwing 2. The next piece of her known history has her at a Repair Depot in the Philippines, possibly Samar, for repairs in October 1945 and following this was returned ‘State-side’. Our Corsair then spent a number of years being allocated to various US Naval Air Reserve squadrons as well as varying periods of storage until she was eventually put up for disposal in March 1956 with a total of 1652 flying hours on the airframe. She was purchased by ALU-MET Smelters in January 1959 and languished in their yard until being rescued a year later by legendary stunt-pilot Frank Tallman. In his book The Great Planes, Frank Tallman calls her his all-time favourite aircraft.

 

Frank Tallman parted with the Corsair in 1966, and she passed through a number of other civilian owners until joining The Fighter Collection fleet in 1986.

 

The Fighter Collection’s Corsair is an extremely original example of the type as she has never been restored and has the distinction of being one of the few still flying with fabric wings.

 

Our Corsair is painted in the colours of a British Fleet Air Arm machine, KD345 of 1850 Squadron during December 1945, when they were embarked on HMS Vengeance of the British Pacific Fleet.

  

North American TF-51D Mustang 44-84847, Miss Velma, (N251RJ)

 

Built too late to see combat service in World War Two, P-51D 44-84847 was one of the last Mustangs constructed at North American Aviation’s Dallas, Texas, plant. Details of her post war service career are limited, but there is photographic evidence, from September 1951, of her serving with the 45th Tactical Reconnaissance Squadron at Kimpo, South Korea, during the Korean War.

 

By late 1951 the 45th TRS were replacing their aging Mustangs with RF-80 Shooting Star jets, and so 44-84847 was shipped back the US to serve with the Air National Guard until around 1956. Around this time she slips off the radar until January 1999 when she re-appears in North Dakota as a restoration project. The airframe joined The Fighter Collection fleet the following year and was moved to Chino, California for a full restoration with the decision made to modify her to two-seat TF-51D configuration.

 

The restoration culminated in a first flight in May 2007 with Steve Hinton at the controls. Following this our Mustang was painted in the 55th Fighter Group scheme of Capt Frank Birtciel’s P-51D 44-14561, Miss Velma. Following the successful completion of her flight testing, Miss Velma was fitted with external drop tanks and flew across the Atlantic to the UK, where she arrived at Duxford on the 4th July 2007

  

NAA P-51D “Ferocious Frankie”

 

The P-51 was the most successful long-range fighter escort of World War II, but it was not an instant success. Designed for the British in only 120 days to meet their requirement to purchase more fighters, the first Mustangs were built with Allison engines; while remarkable at low altitudes, these variants were considered under-powered and disappointing at higher altitudes. Happily, in late 1942 the aircraft was transformed when, in the UK, Rolls Royce Merlin engines were tested in place of the Allison. The Merlin, as used in the Spitfire, was then license-built by Packard in the USA and in 1943 was installed in the P-51B & C models. This near perfect marriage of engine and platform made the 1944 P-51D, with its bubble canopy and six-guns, one of the most iconic and potent fighters of all time.

 

The P-51D’s range was an incredible 2,055m (3,327km), thanks to its huge fuel capacity of 1,000 litres internally and 815 litres in drop tanks. Equally impressive was a level maximum speed of 437mph (703kph) at 25,000 feet, a max diving speed of 505mph (818kph) and a service ceiling of 41,900 feet (12,800m).

 

The OFMC Mustang was built at the North American Aviation Factory at Inglewood, California and accepted by the USAAF on 27/02/1945. One month later it was sent to the 8th Air Force, via Newark and Liverpool docks, serving at Leiston in Suffolk among other stations. The aircraft stayed in England for only 11 months before returning to Newark in January 1946. Briefly kept in storage, in January 1947 it was sent to the Royal Canadian Air Force, operating from Suffield, Alberta. In 1953 with only total 433 flying hours it was completely overhauled in Winnipeg and with only an additional 81 hours time thereafter, was put into outside storage in Carberry Manitoba. Happily, in 1957, it was sold into private hands and registered as N6340T. The aircraft was bought for $5,400 in 1962 with a total of 511 airframe hours. Flying in the Unlimited Race at Reno in 1974, the effectively stock (original) aircraft finished second with an average speed of 384mph.

 

In April 1980 the aircraft flew across the Atlantic to new owners, The Fighter Collection. Re-sprayed, it became known as Candyman / Moose, with the name on one side of the fuselage and the Moose’s head on the other. The Mustang was first displayed in the UK at Biggin Hill in 1981, flown by Ray Hanna, the OFMC’s founder.

 

In 1989, after filming in ‘Memphis Belle’, the aircraft was given a complete overhaul by The Fighter Collection at Duxford. The airframe was remarkably free of corrosion and damage, but a full strip down and component overhaul was undertaken. An overhauled original flying panel was installed. The rear fuel tank in the fuselage was removed and a wartime style modification made to fit a ‘dickey’ seat. This ‘mod’ in 1944 allowed Eisenhower to survey the D-day beaches from the back of a Mustang. A special 1760hp Merlin engine currently powers the aircraft.

  

Supermarine Spitfire Mk IXb G-ASJV

• Aircraft Type: Supermarine Spitfire Mk IXb

• Operator: The Old Flying Machine Company

• Year of Manufacture: 1943

• Powered by: Rolls-Royce Merlin

• Colour Scheme: 222 Sqn. RAF 1943

 

Air tested by the legendary Alex Henshaw in early August 1943, the illustrious history of this much loved aircraft then continued service with 222 Sqn. MH434 was was flown in combat by South African pilot Flt. Lt. Henry Lardner-Burke, DFC, with seven and a half kills, three damaged. On the 27th August 1943 in the St Omar area over France, Lardner-Burke shot down a Focke-Wulf FW-190 and damaged a second during a mission to escort USAAF B-17 bombers. On the 5th September 1943 Lardner-Burke and MH434 shot down another FW-190 in the Nieuport area, and on the 8th September 1943 claimed a half share in the downing of a Messerschmitt Bf-109G in Northern France. Later flown by Flt. Sgt. (later Wing Co) Bill Burge who declared it to be ‘the perfect Spitfire’. Post war service was seen with both the Dutch and Belgian air forces before finally returning home to civilian life. Ray Hanna began his outstanding partnership with MH434 in 1970 and it has been operated by his OFMCo since 1983. She remains the jewel in the company’s crown.

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