HPS

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Look up hps in Wiktionary, the free dictionary. shatterproof light bulbs

HPS may stand for: dimming compact fluorescent

Hantavirus pulmonary syndrome, a deadly disease transmitted by infected rodents through urine, droppings, or saliva colored glass lamp

Heart Protection Study, a large randomized controlled trial run in the United Kingdom

Hermansky-Pudlak syndrome, a rare autosomal recessive disorder which results in oculocutaneous albinism

High Performance Switch (used in some IBM Scalable POWERparallel and IBM System p models)

High Pressure Sodium, a type of light bulb

History and philosophy of science, an academic discipline that encompasses the philosophy of science and the history of science

Croatian Mountaineering Association (from Hrvatski planinarski savez), an association covering both mountaineering and a broad range of related activities

Hyderabad Public School, one of the oldest and most prestigious public schools in Hyderabad in India

Ilford HPS, a cubic-grain black-and-white film

HP Services, part of the Technology Solutions Group business segment of Hewlett-Packard

Helsingin Palloseura (HPS), a sports club from Helsinki, Finland

Hydraulic power steering, a power steering system in automobiles

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Geothermal gradient

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Heat sources

Temperature within the Earth increases with greater depth. Highly viscous or partially molten rock at temperatures between 650 to 1,200 C (1,202 to 2,192 F) is postulated to exist everywhere beneath the Earth's surface at depths of 50 to 60 miles (80 to 100 kilometers), and the temperature at the Earth's center, nearly 4,000 miles (6,400 km) deep, is estimated to be 5650 600 kelvins. The heat content of the earth is 1031 Joules.

Much of the heat is believed to be created by decay of naturally radioactive elements. An estimated 45 to 90 percent of the heat escaping from the Earth originates from radioactive decay of elements within the mantle. flat head rivets

Heat of impact and compression released during the original formation of the Earth by accretion of in-falling meteorites. plastic snap rivets

Heat released as abundant heavy metals (iron, nickel, copper) descended to the Earth's core. brass rivet

Some heat may be created by electromagnetic effects of the magnetic fields involved in Earth's magnetic field.

10 to 25% of the heat flowing to the surface may be produced by a sustained nuclear fission reaction in Earth's inner core, the "georeactor" hypothesis.

Heat may be generated by tidal force on the Earth as it rotates; since land cannot flow like water it compresses and distorts, generating heat.

Present-day major heat-producing isotopes

Isotope

Heat release [W/kg isotope]

Half-life [years]

Mean mantle concentration [kg isotope/kg mantle]

Heat release [W/kg mantle]

238U

9.46 10-5

4.47 109

30.8 10-9

2.91 10-12

235U

5.69 10-4

7.04 108

0.22 10-9

1.25 10-13

232Th

2.64 10-5

1.40 1010

124 10-9

3.27 10-12

40K

2.92 10-5

1.25 109

36.9 10-9

1.08 10-12

Heat flow

Sequence of the burning of a shrub by geothermal heat.

Heat flows constantly from its sources within the Earth to the surface. Total heat loss from the earth is 42 TW (4.2 1013 Watts). This is approximately 1/10 watt/square meter on average, (about 1/10,000 of solar irradiation,) but is much more concentrated in areas where thermal energy is transported toward the crust by Mantle plumes; a form of convection consisting of upwellings of higher-temperature rock. These plumes can produce hotspots and flood basalts. The Earth's crust effectively acts as a thick insulating blanket which must be pierced by fluid conduits (of magma, water or other) in order to release the heat underneath. More of the heat in the Earth is lost through plate tectonics, by mantle upwelling associated with mid-ocean ridges. The final major mode of heat loss is by conduction through the lithosphere, the majority of which occurs in the oceans due to the crust there being much thinner than under the continents.

The heat of the earth is replenished by radioactive decay at a rate of 30 TW. The global geothermal flow rates are more than twice the rate of human energy consumption from all primary sources.

The geothermal gradient has been exploited for space heating and bathing since ancient roman times, and more recently for generating electricity. About 10 GW of geothermal electric capacity is installed around the world as of 2007, generating 0.3% of global electricity demand. An additional 28 GW of direct geothermal heating capacity is installed for district heating, space heating, spas, industrial processes, desalination and agricultural applications.

Variations

The geothermal gradient varies with location and is typically measured by determining the bottom open-hole temperature after borehole drilling. To achieve accuracy the drilling fluid needs time to reach the ambient temperature. This is not always achievable for practical reasons.

In stable tectonic areas in the tropics a temperature-depth plot will converge to the annual average surface temperature. However, in areas where deep permafrost developed during the Pleistocene a low temperature anomaly can be observed that persists down to several hundred metres. The Suwaki cold anomaly in Poland has led to the recognition that similar thermal disturbances related to Pleistocene-Holocene climatic changes are recorded in boreholes throughout Poland, as well as in Alaska, northern Canada, and Siberia.

In areas of Holocene uplift and erosion (Fig. 1) the initial gradient will be higher than the average until it reaches an inflection point where it reaches the stabilized heat-flow regime. If the gradient of the stabilized regime is projected above the inflection point to its intersect with present-day annual average temperature, the height of this intersect above present-day surface level gives a measure of the extent of Holocene uplift and erosion. In areas of Holocene subsidence and deposition (Fig. 2) the initial gradient will be lower than the average until it reaches an inflection point where it joins the stabilized heat-flow regime.

In deep boreholes, the temperature of the rock below the inflection point generally increases with depth at rates of the order of 20 K/km or more.[citation needed] Fourier's law of heat flow applied to the Earth gives q = Mg where q is the heat flux at a point on the Earth's surface, M the thermal conductivity of the rocks there, and g the measured geothermal gradient. A representative value for the thermal conductivity of granitic rocks is M = 3.0 W/mK. Hence, using the global average geothermal conducting gradient of 0.02 K/m we get that q = 0.06 W/m. This estimate, corroborated by thousands of observations of heat flow in boreholes all over the world, gives a global average of 6102 W/m. Thus, if the geothermal heat flow rising through an acre of granite terrain could be efficiently captured, it would light four 60 watt light bulbs.

A variation in surface temperature induced by climate changes and the Milankovitch cycle can penetrate below the Earth's surface and produce an oscillation in the geothermal gradient with periods varying from daily to tens of thousands of years and an amplitude which decreases with depth and having a scale depth of several kilometers. Melt water from the polar ice caps flowing along ocean bottoms tends to maintain a constant geothermal gradient throughout the Earth's surface.

If that rate of temperature change were constant, temperatures deep in the Earth would soon reach the point where all known rocks would melt. We know, however, that the Earth's mantle is solid because it transmits S-waves. The temperature gradient dramatically decreases with depth for two reasons. First, radioactive heat production is concentrated within the crust of the Earth, and particularly within the upper part of the crust, as concentrations of uranium, thorium, and potassium are highest there: these three elements are the main producers of radioactive heat within the Earth. Second, the mechanism of thermal transport changes from conduction, as within the rigid tectonic plates, to convection, in the portion of Earth's mantle that convects. Despite its solidity, most of the Earth's mantle behaves over long time-scales as a fluid, and heat is transported by advection, or material transport. Thus, the geothermal gradient within the bulk of Earth's mantle is of the order of 0.3 kelvin per kilometer, and is determined by the adiabatic gradient associated with mantle material (peridotite in the upper mantle).

This heating up can be both beneficial or detrimental in terms of engineering: Geothermal energy can be used as a means for generating electricity, by using the heat of the surrounding layers of rock underground to heat water and then routing the steam from this process through a turbine connected to a generator.

On the other hand, drill bits have to be cooled not only because of the friction created by the process of drilling itself but also because of the heat of the surrounding rock at great depth. Very deep mines, like some gold mines in South Africa, need the air inside to be cooled and circulated to allow miners to work at such great depth.

See also

Sustainable development portal

Geothermal power

Hydrothermal circulation

References

^ a b c Fridleifsson,, Ingvar B.; Bertani, Ruggero; Huenges, Ernst; Lund, John W.; Ragnarsson, Arni; Rybach, Ladislaus (2008-02-11). O. Hohmeyer and T. Trittin. ed (pdf). The possible role and contribution of geothermal energy to the mitigation of climate change. Luebeck, Germany. pp. 5980. http://iga.igg.cnr.it/documenti/IGA/Fridleifsson_et_al_IPCC_Geothermal_paper_2008.pdf. Retrieved 2009-04-06. 

^ a b Turcotte, D. L.; Schubert, G. (2002). "4". Geodynamics (2 ed.). Cambridge, England, UK: Cambridge University Press. pp. 136137. ISBN 978-0-521-66624-4. 

^ Sanders, Robert (2003-12-10). "Radioactive potassium may be major heat source in Earth's core". UC Berkeley News. http://www.berkeley.edu/news/media/releases/2003/12/10_heat.shtml. Retrieved 2007-02-28. 

^ Alf, D.; Gillan, M. J.; Vocadlo, L.; Brodholt, J; Price, G. D. (2002). "The ab initio simulation of the Earth's core" (PDF). Philosophical Transaction of the Royal Society of London 360 (1795): 12271244. http://chianti.geol.ucl.ac.uk/~dario/pubblicazioni/PTRSA2002.pdf. Retrieved 2007-02-28. 

^ Vlaar, N; Vankeken, P; Vandenberg, A (1994). "Cooling of the earth in the Archaean: Consequences of pressure-release melting in a hotter mantle". Earth and Planetary Science Letters 121: 1. doi:10.1016/0012-821X(94)90028-0. 

^ Alfe, D.; M. J. Gillan, G. D. Price (2003-02-01). "Thermodynamics from first principles: temperature and composition of the Earths core" (PDF). Mineralogical Magazine 67 (1): 113123. doi:10.1180/0026461026610089. http://www.es.ucl.ac.uk/people/d-price/papers/153.pdf. Retrieved 2007-03-01journal=Mineralogical Magazine. 

^ Steinle-Neumann, Gerd; Lars Stixrude, Ronald Cohen (2001-09-05). "New Understanding of Earth Inner Core". Carnegie Institution of Washington. http://www.carnegieinstitution.org/news_010905.html. Retrieved 2007-03-01. 

^ Anuta, Joe (2006-03-30). "Probing Question: What heats the earth's core?". physorg.com. http://www.physorg.com/news62952904.html. Retrieved 2007-09-19. 

^ Hollenbach, D. F.; J. M. Herndon (2001-09-25). "Thermodynamics from first principles: temperature and composition of the Earths core". PNAS 98 (20): 1108511090. doi:10.1073/pnas.201393998. PMID 11562483. PMC 58687. http://www.pnas.org/cgi/content/full/98/20/11085. Retrieved 2007-03-01. 

^ Turcotte, D. L.; Schubert, G. (2002). "4". Geodynamics (2 ed.). Cambridge, England, UK: Cambridge University Press. pp. 137. ISBN 978-0-521-66624-4. 

^ a b Sclater, John G; Parsons, Barry; Jaupart, Claude (1981). "Oceans and Continents: Similarities and Differences in the Mechanisms of Heat Loss". Journal of Geophysical Research 86: 11535. doi:10.1029/JB086iB12p11535. 

^ Richards, M. A.; Duncan, R. A.; Courtillot, V. E. (1989). "Flood Basalts and Hot-Spot Tracks: Plume Heads and Tails". Science 246 (4926): 103107. doi:10.1126/science.246.4926.103. PMID 17837768. http://adsabs.harvard.edu/abs/1989Sci...246..103R. Retrieved 2007-04-21. 

^ Rybach, Ladislaus (September 2007). "Geothermal Sustainability". Geo-Heat Centre Quarterly Bulletin (Klamath Falls, Oregon: Oregon Institute of Technology) 28 (3): pp. 27. ISSN 0276-1084. http://geoheat.oit.edu/bulletin/bull28-3/art2.pdf. Retrieved 2009-05-09. 

^ The Frozen Time, from the Polish Geological Institute

^ a b Stacey, Frank D. (1977). Physics of the Earth (2nd ed.). New York: John Wiley & Sons. ISBN 0-471-81956-5.  pp. 183-4

^ Sleep, Norman H.; Kazuya Fujita (1997). Principles of Geophysics. Blackwell Science. ISBN 0-86542-076-9.  pp. 187-9

"Geothermal Resources". DOE/EIA-0603(95) Background Information and 1990 Baseline Data Initially Published in the Renewable Energy Annual 1995. http://www.eia.doe.gov/cneaf/solar.renewables/renewable.energy.annual/backgrnd/chap9b.htm. Retrieved May 4, 2005. 

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Microtech Gefell

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www.microtechgefell.de/eng/history/HistoriePDF/E_History%20Microtech%20Gefell%20_pdf.pdf

Cucoo, Jeremy; "Microtech-Gefell M296"; Recording.org; http://recording.org/reviews-24.html

"The History of Microtech Gefell"; Mercenary Audio; http://www.mercenary.com/hiofmige.html aluminum stair rails

mcglynn, matthew; "Microtech Gefell"; http://recordinghacks.com/microphones/Microtech-Gefell titanium pipe

Robjohns, Hugh; "Microtech Gefell M930"; Sound on Sound January 2004; http://www.soundonsound.com/sos/jan04/articles/microtechgefell.htm?print=yes balustrade system

References

^ "Microtech Gefell 75 Year History"; http://www.microtechgefell.de/eng/history/HistoriePDF/E_History%20Microtech%20Gefell%20_pdf.pdf

^ mcglynn, matthew; "Microtech Gefell"; http://recordinghacks.com/microphones/Microtech-Gefell

^ Robjohns, Hugh; "Microtech Gefell M930"; Sound on Sound January 2004; http://www.soundonsound.com/sos/jan04/articles/microtechgefell.htm?print=yes

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Lucy van Pelt

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History

Lucy was introduced into the strip on March 3, 1952 as a wide-eyed baby who constantly tormented her parents. Very early on, Schulz eliminated the circles around her eyes and allowed her to mature to the age of the other characters. She soon grew into her familiar persona of a bossy, crabby, selfish girl.

Lucy wears a blue-colored dress with white and black saddle shoes for most of the strip's original run. However, in later years, towards its end, she was seen more in t-shirts and pants, until her dress was phased out altogether. womens leather trench coats

Perhaps Lucy's most famous gimmick in her long existence as a character is the one in which she pulls the football away from Charlie Brown right as he is about to kick it. The first occasion on which she did this was November 16, 1952, taking over for Violet, who had previously (yet unintentionally) subjected Charlie Brown to this trick on November 14, 1951, for fear that Charlie Brown would accidentally kick her instead of the ball. Afterward, Lucy would always intentionally pull the football away from Charlie Brown to trick him. faux fur hoodies

For all her crabbiness and bad temper, Lucy did have a romantic side: she was in love with Schroeder, but he did not return the affection. In this Lucy is seen as insecure, as she shows a need for assurance from Schroeder and Charlie Brown that she is pretty (constantly asking them of their opinion of her appearance), and is known to react harshly when she receives an unfavorable, or even hesitant, answer. Indeed, Lucy seems to be rather thin-skinned when it comes to being insulted herself; once, when Linus countered her statement that he was a terrible brother by saying that she wasn't such a great sister either, Lucy burst into tears. Another time, her reaction to Charlie Brown's telling her she wasn't perfect was to storm off angrily without even a word, leaving Charlie to comment, "I've never seen anyone so insulted!" ladies suede coat

Relationships with other characters

Lucy and Linus

Lucy is frequently irked by her younger and more passive brother, Linus. In particular, she wants Linus to stop his attachment to his security blanket, and has even gone so far as to cut it up (to make shapes for a "flannelgraph" and later to make squares for Linus to clean his glasses with) and to steal and hide it. She once made a kite out of it and "accidentally" let go of it. The blanket flew around the country and people wrote to Linus to let him know they saw it. It was rescued by the Air Force when it flew out over the Pacific Ocean. Another time Lucy buried the blanket, causing a frantic Linus to dig up almost the entire neighborhood before Snoopy found it.

On one occasion in 1965, Linus' blanket took revenge on Lucy for her campaign against it by "jumping" her and physically attacking her. The attacks scared Lucy so badly that she was afraid to go home at night. Eventually she and the blanket made a "truce" whereby the blanket would refrain from attacking Lucy if she promised not to try to throw it into the trash burner anymore. Lucy did in fact try to throw the blanket into the trash burner a few years later (as part of a storyline in which Linus made a deal to give up his blanket if his grandmother would quit smoking, and Lucy rationalized that after two weeks without the blanket, Linus no longer needed it), but an unusually strong-willed Linus intervened at the last second, rescued his blanket from the trash burner and screamed at Lucy to mind her own business when it came to the blanket; he told her that if their mother wanted him to get rid of the blanket, then he'd do it; until then, it was no one else's business but his.

Lucy thinks that she is completely perfect, and that Linus and practically everyone else, is anything but. She outright told Linus that he was a terrible younger brother, but, in a rare instance where he turns something his sister said back at her, when he demanded that if she thought he was such a horrible brother, what made her to be such a terrific older sister, Lucy, realizing that he struck a nerve, burst into tears.

Another habit of Linus that drives Lucy crazy is his patting Woodstock and Woodstock's fellow birds on the head. This seems to be a form of emotional therapy for both Linus and the birds, but Lucy is vehemently against it, mainly because she fears that she and her family will be ridiculed if word gets out that Linus pats birds on the head. In a Sunday strip in 1999 she was even more mortified to discover that her youngest brother, Rerun, had also picked up this habit.

Lucy annoys Linus in other ways: stealing all the crayons (except black, white, and gray), changing the channel or turning the TV off while Linus is watching it, and forcing him to shower her with lavish words of praise before she'll even consider sharing anything with him ("Thank you, dear sister, greatest of all sisters, without whom I'd never survive!" is what Linus was once forced to say before receiving a piece of toast. Then, he said, "How can I eat when I feel nauseated?") Lucy also forces Linus to bring her snacks or something to drink while she watches TV. Lucy once bragged that she played Linus "like a pianist plays a concert grand." Lucy has made no secret of the fact that she wishes she were an only child, and has actually tried to throw Linus out of the house a few times; in one such incident, when Lucy got the news of Rerun's birth in 1972, she exclaimed, "A new baby brother?! But I just got rid of the old one!"

By contrast, Linus' attempts to stand up to his sister typically result in a verbal or physical beatdown. However, he sometimes gets his revenge on Lucy in more subtle ways. In one strip, he suddenly responds to a rude remark from her by ceremoniously awarding her with a printed scroll and congratulates her on being "crabby" for 1,000 days in a row - to which she, completely blindsided at the sheer audacity of this creative insult, could only respond weakly, "One rarely gets a chance to see such carefully planned sarcasm." In another instance, Linus created an effigy out of snow that looked like Lucy. Lucy commented, "You're going to get great satisfaction out of building a snowman that looks just like me just so you can stand there and kick it!" To this, Linus replied, "On the contrary, that would be crude. I'm just going to stand here and watch it slowly melt away", while Lucy stood stunned at the philosophical contempt behind that statement.

On one occasion, however, Lucy was seen to acknowledge Linus' genuine affection for her. When Lucy demands to know what she has to feel grateful for on Thanksgiving Day, Linus replies, "Well, you have a brother who loves you..." Lucy immediately bursts into tears.

Another occasion that showed Lucy's care and concern for her brother Linus occurred in It's the Great Pumpkin, Charlie Brown. When Linus did not return home from the pumpkin patch by 4:00 A.M., Lucy got out of bed, put her coat on, walked out to the pumpkin patch and led her sleeping brother home and put him to bed. Also, while Linus was waiting for the Great Pumpkin in the pumpkin patch with Sally, and the others were trick or treating, she requested an extra piece of candy for her brother exclaiming, "It's so embarrassing to have to ask for something extra for that blockhead Linus." The book adaptation says she requested an extra apple, but this has yet to be confirmed.

Lucy and Charlie Brown

Her treatment of Charlie Brown is just as bad, although in the early days of the strip, she seemed to have a crush on him. Aside from her infamous football trick, she gives "psychiatric advice" by insulting and belittling him, but on rare occasions, she does try sincerely to help Charlie Brown, such as in A Charlie Brown Christmas, by getting him involved in directing the Christmas play. She also sometimes tries to give him what she thinks is good advice, however such advice is usually of little practical value.

In the earlier years, Lucy came up with silly theories (e.g. "Snow comes up out of the ground") and laughed at Charlie Brown's efforts to tell her otherwise. When Charlie Brown finally proves that Lucy's theory is false, Lucy makes an insensitive remark about the way he looks. A similar thing happens when Lucy laughs at Charlie's assertion that birds fly south for the winter; upon learning the truth from her teacher, she wonders if she can change to a different teacher.

Lucy delivers devastatingly mean remarks with the greatest of ease, usually showing no emotion whatsoever, then moving on with whatever she was doing. She has a tendency to go off on loud and rambling tangents when she is with him, such as a strip where Charlie Brown asked if she ever regretted anything she said. Her reply is that she always says what she means, but she becomes repetitive and progressively louder, which gives Charlie Brown a headache. The first time she pulled this on him was when he asked her if she was going to make any New Years resolutions. She completely went off on him screaming that she was all right the way she was, this loud rant so sickened Charlie Brown that he walked off holding his stomach. She also specializes in setting Charlie Brown up and then knocking him down.

When Charlie Brown fails at something, Lucy is quick to point it out, as illustrated by the series of strips in early 1964 (later adapted into the script of A Boy Named Charlie Brown) in which she put together a slide presentation of all of Charlie's faults, and subsequently demanded that he pay her a sum of $143 for her services. Lucy will often trivialize Charlie Brown by saying something completely inane and off topic while he's pouring his heart out to her about something important to him, or, Lucy will think in literal terms, while Charlie Brown is speaking figuratively. Once Charlie Brown told Lucy he would have to build a mental fence to keep unpleasant news out of his mind; Lucy responded in all sincerity and with no apparent sarcasm, by saying "Don't make it a picket fence, Charlie Brown. They're awfully hard to paint".

Lucy sometimes tends to be a victim of Charlie Brown's wit or sarcasm. In one strip when Charlie Brown is at the psychiactric booth, she tells him that the insecurities people have can lead to colds and other illnesses in which Charlie Brown responds by sarcastically sneezing loudly, knocking Lucy to the floor.

It could be suggested that Lucy has some kind of hidden 'longing', or soft spot for Charlie Brown. In A Boy Named Charlie Brown, she first suggests that Charlie Brown looks 'kinda cute' among the flowers on his pitchers mound which actually infuriates him. Secondly in the same film, she is extremely angry when he loses the spelling bee. She then turns the T.V off to walk away, only to turn the T.V. back on to utter the words "Charlie Brown, you - you make me mad!" Also in You're in Love, Charlie Brown, when referring to the little red-haired girl, Charlie Brown remarks that 'a pretty face makes him nervous'. This causes Lucy to rant that she has a pretty face. She asks why he doesn't get nervous around her and begins to follow him when he walks off, continuing her tirade. And in A Charlie Brown Christmas and later an episode of The Charlie Brown and Snoopy Show she asks if Charlie Brown thinks she's beautiful, to which of course he doesn't reply, leading her to say "I know when I've been insulted! I know when I've been insulted!" Also early on in the strip, in her first years, Lucy actually kind of had a crush on Charlie Brown; in one story she asked CB if he thought that they would ever get married. Charlie said no of course leaving her visibly upset.

Lucy and Rerun

By contrast, Lucy's relationship with her youngest brother, Rerun (who entered the strip as a baby in the early 1970s but didn't become a major character until the late 1990s), is much less turbulent. Despite her initial dismay over his birth (lamenting that she was experiencing a "rerun" with another baby brother, thus giving him his nickname), Lucy in fact took on something of a mentor role for Rerun, teaching him important things he needs to survive in life, such as how to tie his shoes - in contrast to the outrageous misinformation she has been known to tell Linus (e.g. telling him that leaves falling off trees in autumn were "flying south for the winter"). As a result, Lucy's personality seemed to mellow a bit in the final years of the strip, though she never did become totally "nice." Rerun often shows a knack for getting around Lucy and weakening her defenses, whereas Linus is apt to give up and just let Lucy dominate him. In one strip, Lucy walked up to Rerun building a sand castle in a sandbox, and asked him what he would do if she kicked it down. Rerun responded; "Oh, nothing I guess. But years from now, when You and Your Husband come over to My house, and ask Me to co-sign for a loan for You, I might remember it". Lucy appeared to think this over for a moment, and then walked away grinding her teeth in frustration, while Rerun smugly continued building his sand castle.

Lucy and Snoopy

Lucy is terrified of being licked or kissed by Snoopy, and usually runs off screaming whenever he does kiss her. Snoopy is naturally infatuated with her and likes to tease her about it. On several occasions, her flirting with Schroeder has inadvertently resulted in a kiss from Snoopy - Schroeder walks away as soon as Lucy begins flirting, but then Snoopy appears, hears Lucy talking about a kiss, and kisses her, which inevitably results in Lucy running off in hysterics. Schroeder also once had Snoopy kiss Lucy to get out of kissing her himself, by having Snoopy act as his "representative" to deliver a kiss on Beethoven's birthday.

Lucy and Snoopy have also occasionally found themselves in not-so-friendly competition - the two faced off in an arm-wrestling tournament once (the competition ended abruptly after Snoopy kissed Lucy on the nose and she recoiled in horror), and more than once in the course of the strip have actually come to fighting (again, Snoopy often wins by default by trying to kiss or lick Lucy's face). On several occasions, Charlie Brown has had Snoopy stay at Lucy's house while he and his family went on vacation, and Lucy usually treats her canine house guest inhospitably (i.e. forcing him to sleep outside in one of her old doll beds). Still, as it turns out, Snoopy is perhaps one of the few characters in the strip who usually winds up outsmarting Lucy.

However, one of the most famous Peanuts strips of all time shows a rare moment of Lucy showing affection towards Snoopy by hugging him and then saying one of the most famous quotes in the strip's history, "Happiness is a warm puppy." Lucy herself acknowledged in another strip that although there were times when Snoopy drove her crazy, there were also times when she felt like hugging him, which she then proceeded to do.

At the end of the animated film "It's the Easter Beagle, Charlie Brown", Lucy ends up being kissed by Snoopy (after she originally wanted to fight him for taking her eggs to give to the neighborhood kids) and responds "Aah, the Easter Beagle!" with a dreamy look in her eyes. Most of the time she would just call him a stupid beagle. Linus and Sally did too.

Lucy and Schroeder

Lucy is in love with Schroeder, who constantly rejects her advances. Her love of Schroeder begins in the Peanuts strip from January 27, 1953. When she asks Schroeder what song he is playing, he responds saying the Nutcracker Suite, which Lucy erroneously interprets as "Nutcracker, Sweet". She spends much of her time leaning against his toy piano as he plays, striving to gain the attention Schroeder gives to his music. Schroeder often responds to her flirting with a sarcastic quote.

Lucy constantly sees herself as being in competition with the piano, which she has even tried to steal and destroy, and sometimes succeeding, earning her none of Schroeder's love or affection. To an extent, she also believes she is competing with Schroeder's favorite composer, Beethoven, and often makes a point to make rude comments about Beethoven to Schroeder's face (which angers Schroeder immensely). At various points, she would also remove the bust of Beethoven to replace it with her picture; or to the extreme, she took a ball bat and smashed it; only to be horrified to see that he had a closet full of extra busts of Beethoven, one of which he replaced the broken one with. Her response to this is, "I'll probably never get married!" In one strip, Lucy tossed Schroeder's piano up into the Kite-Eating Tree which always eats Charlie Brown's kites, and in another strip, she threw his piano down a sewer. Schroeder, for his part, has on occasion exacted revenge by yanking his piano out from under Lucy, causing her head to strike the floor. Schroeder is also annoyed by Lucy's repeated hinting about gifts, such as when she says that Beethoven's birthday is an ideal day to buy girls gifts.

On occasion during the 1960s and 1970s, Lucy and naturally-curly-haired Frieda were shown as rivals for Schroeder's affections; Lucy once spotted Frieda taking her (Lucy's) place at Schroeder's piano, and Snoopy taught her how to jump up into the air and look vicious. Frieda was then beaten up. Another time both Frieda and Lucy are leaning on Schroeder's piano, and Schroeder yanks the piano from both of them; when Lucy said that "you need to like Beethoven to hang around here," to which Frieda replied, "Sure, but I'll just have a small glass." Another instance in the strip, Frieda wondered what would happen if she gave Schroeder a kiss. Lucy says "Why don't you find out." By then Schroeder had walked away for a minute, but Snoopy came in and, what usually happens to Lucy, kisses Frieda, with her saying "Bleah!"

Other personality traits

Psychiatric booth

Lucy and her "five-cents-please" psychiatric help booth as depicted at Universal Studios in Osaka, Japan.

Lucy is also the manager of a psychiatric booth, parodying the lemonade stand operated by many young children in the United States. Here, she gives advice for five cents (except in the early 80s when the rising cost of hot chocolate one winter caused Lucy to increase her fee to seven cents) to the other characters in the strip, most frequently an anxious Charlie Brown. Of course, the advice that Lucy offers often leaves Charlie Brown feeling even worse than before. The psychiatric booth is a prime example of the more adult-oriented humor that Schulz incorporated into his comic strip, making it accessible to people of all ages. In the early years of the psychiatric booth, another of Lucy's most frequent clients was her own brother, Linus; Schroeder, Sally, Frieda, and Snoopy have also been beneficiaries of Lucy's psychiatric wisdom, which is usually of little actual help and accompanied by "5 cents please." A sign on the front of the booth declares that "The Doctor is" in or out, depending on which side of the "In/Out" placard is displayed. In A Charlie Brown Christmas, Lucy reverses the placard from displaying its "Out" side to reveal the words "Real In", perhaps a homage to the "hip" 60s culture. Another time, on the title panel of a Sunday strip, it showed Lucy chewing gum, and the sign read "The Doctor is Preoccupied."

Baseball

On Charlie Brown's baseball team Lucy plays right field (or occasionally center field), and is characterized as a bad player, who, when temporarily kicked off the team, turns to heckling the games. Lucy has a knack for coming up with a novel excuse for every fly ball she misses (for example: "The moons of Saturn got in my eyes", or "I think there were toxic substances coming from my glove, and they made me dizzy", or "I was having my quiet time."). Other times, she finds an excuse to have one-sided conversations with Charlie Brown at the pitcher's mound, often over some trivial thing she noticed, which usually result in Charlie Brown blowing his top and yelling at her to "Get back in center field where you belong!".

In many strips, and probably her most famous baseball habit, she gets hit on the head with the fly ball, and shows her getting "Bonked." Once, in a 1983 Sunday strip, the ball hits every center fielder's head, and Schroeder says to Charlie Brown, "You're right, I think six bonks is a new record." In a series of strips that later became part of the 2003 TV special Lucy Must Be Traded, Charlie Brown, Charlie Brown traded Lucy to Peppermint Patty's baseball team for Marcie (and a pizza), but once Patty discovered what a terrible player Lucy really was, she traded her back. Even on the diamond, Lucy flirts with Schroeder, who plays catcher on Charlie Brown's team: once she called for a "squeeze play...I'll squeeze the catcher!"

Only once has Lucy ever produced on the baseball diamond: in one game, Lucy (using a bat signed not by a ballplayer, but by actress Liv Ullmann) slammed a home run, after Schroeder jokingly suggested that he would kiss her if she hit a four-bagger. (Lucy let him off the hook: "If that's the only way I'll get you to kiss me, forget it! Another victory for women's lib!")

Portrayals

1960s child actress Tracy Stratford first voiced Lucy in 1965 and since then many actresses including sisters Robin (from 1972 to 1973) and Melanie Kohn (from 1974 to 1977) have voiced her. Actress Sally Dryer provided Lucy's voice from 1966-1968. Pamelyn Ferdin also provided a voice to Lucy in Play It Again, Charlie Brown. Sydney Penny voiced her in It's Magic, Charlie Brown. 1980s child actress Angela Lee voiced her in 1982 and 1983. Heather Stoneman voiced her in 1984 and 1985. Jessica Lee Smith voiced her in the animated version, of "You're a Good Man, Charlie Brown". Erica Gayle and Ami Foster both voiced her in "This Is America, Charlie Brown" (1988-1989).

In the stage musical You're a Good Man, Charlie Brown, Lucy was portrayed by Reva Rose in the original off-Broadway cast in 1967, and by Ilana Levine in the 1999 Broadway revival.

She was portrayed by Lucille Ball on a 1971 episode of "The Flip Wilson Show" in which Charlie Brown was portrayed by Wilson and Linus was portrayed by Donny Osmond.

She was impersonated by Mary Scheer on an Invader Zim episode Mysterious Mysteries where she said What's with this big head? which shows that Lucy still has her mean attitude.

References

^ Choy, Penelope (2005). Basic Grammar and Usage. Thomas Wadsworth. pp. 160. ISBN 1413008925. 

^ Umphlett, Wiley Lee (2006). From Television to the Internet: Postmodern Visions of American Media Culture in the Twentieth Century. Farleigh Dickinson University Press. pp. 66. ISBN 083864080X. 

^ Mansour, David (2005). From ABBA to Zoom: A Pop Culture Encyclopedia of the Late 20th Century. Andrews McMeel Publishing. pp. 281. ISBN 0740751182. 

^ Nelson, Roy Paul (2004). The Art of Cartooning. Courier Dover Press. pp. 4. ISBN 048643639X. 

^ Altshuler, Thelma C. (1965). Prose as Experience. Houghton Mifflin. pp. 374. 

^ a b Pendergast, Tom (2000). St. James Encyclopedia of Popular Culture. St. James Press. pp. 25. ISBN 155862404X. 

^ Inge, M. Thomas (2000). Charles M. Schulz: Conversations. University Press of Mississippi. pp. 89. ISBN 1578063051. 

^ Grossman, Anna Jane (2007). It's Not Me, It's You: The Ultimate Breakup Book. De Capo Press. pp. 101. ISBN 0738210900. 

^ Williams, Jean (2002). A Game for Rough Girls? A History of Women's Football in Britain. Routledge. pp. 166. ISBN 0415263379. 

External links

Lucy at Snoopy.com

v  d  e

Peanuts

Characters

Charlie Brown Charlotte Braun Sally Brown Franklin Frieda The Great Pumpkin Kite-Eating Tree Little Red-Haired Girl Marcie Patty Peggy Jean Peppermint Patty Pig-Pen Schroeder Shermy Snoopy Snoopy's siblings Linus van Pelt Lucy van Pelt Rerun van Pelt Violet Gray Woodstock Minor characters

Films

A Boy Named Charlie Brown Snoopy, Come Home Race for Your Life, Charlie Brown Bon Voyage, Charlie Brown (and Don't Come Back!!)

TV specials

A Boy Named Charlie Brown  A Charlie Brown Christmas  Charlie Brown's All-Stars  It's the Great Pumpkin, Charlie Brown  You're in Love, Charlie Brown  He's Your Dog, Charlie Brown  Charlie Brown and Charles Schulz  It Was a Short Summer, Charlie Brown  Play It Again, Charlie Brown  You're Not Elected, Charlie Brown  There's No Time for Love, Charlie Brown  A Charlie Brown Thanksgiving  It's a Mystery, Charlie Brown  It's the Easter Beagle, Charlie Brown  Be My Valentine, Charlie Brown  You're a Good Sport, Charlie Brown  Happy Anniversary, Charlie Brown  It's Arbor Day, Charlie Brown  It's Your First Kiss, Charlie Brown  What a Nightmare, Charlie Brown!  Happy Birthday, Charlie Brown  You're the Greatest, Charlie Brown  She's a Good Skate, Charlie Brown  Life Is a Circus, Charlie Brown  It's Magic, Charlie Brown  Someday You'll Find Her, Charlie Brown  A Charlie Brown Celebration  Is This Goodbye, Charlie Brown?  It's an Adventure, Charlie Brown  What Have We Learned, Charlie Brown?  It's Flashbeagle, Charlie Brown  Snoopy's Getting Married, Charlie Brown  It's Your 20th Television Anniversary, Charlie Brown  You're a Good Man, Charlie Brown  Happy New Year, Charlie Brown!  Snoopy!!! The Musical  It's the Girl in the Red Truck, Charlie Brown  You Don't Look 40, Charlie Brown  Why, Charlie Brown, Why?  Snoopy's Reunion  It's Spring Training, Charlie Brown  It's Christmastime Again, Charlie Brown  You're in the Super Bowl, Charlie Brown  It Was My Best Birthday Ever, Charlie Brown  Good Grief, Charlie Brown: A Tribute to Charles Schulz  Here's to You, Charlie Brown: 50 Great Years  It's the Pied Piper, Charlie Brown  The Making of "A Charlie Brown Christmas"  A Charlie Brown Valentine  Charlie Brown's Christmas Tales  Lucy Must Be Traded, Charlie Brown  I Want a Dog for Christmas, Charlie Brown  He's a Bully, Charlie Brown

Other media

A Charlie Brown Christmas (album) The Charlie Brown and Snoopy Show "Linus and Lucy" Snoopy!!! The Musical Dog Sees God: Confessions of a Teenage Blockhead Bring Me the Head of Charlie Brown Snoopy's Silly Sports Spectacular This is America, Charlie Brown You're a Good Man, Charlie Brown Snoopy (video game) Charlie Brown's Super Book of Questions and Answers (book)

People

Charles M. Schulz Bill Melendez Lee Mendelson Vince Guaraldi Tom Everhart

Related articles

Charles M. Schulz Museum and Research Center

Categories: Peanuts characters | Fictional psychiatrists | Fictional baseball players | 1952 introductions | Fictional football players

Seibal

China Product


Etymology

"Seibal" is a corruption of the Spanish word ceibal, meaning "place where many ceiba trees grow". El Ceibal was the name of a lumber camp near the ruins at the time of their discovery. The change in spelling originated with a publication by Teoberto Maler in 1908, which used a Germanic form with initial "s".

Location american olean ceramic tile

Seibal is located on bluffs about 100 metres (330 ft) above the Pasin River, a major tributary of the Usumacinta River. About 100 kilometres (62 mi) downstream, the Pasin River joins with the Salinas River to form the Usumacinta, which flows northwards to the Gulf of Mexico. The site lies in the Petn department of northern Guatemala, 16 kilometres (9.9 mi) east of the modern town of Sayaxch. Seibal lay 27 kilometres (17 mi) east of the Late Classic city of Dos Pilas and 100 kilometres (62 mi) south of Tikal. Lake Petn Itz lies 60 kilometres (37 mi) to the north of the ruins. granite tile backsplash

Seibal lies among tropical rainforest on a limestone plain that is intermittently hilly and flat. black porcelain tile

Population

Maya civilization

Peoples  Languages  Society

Religion  Mythology  Human sacrifice

Architecture  Calendar

Textiles  Trade

Pre-Columbian Music  Writing

History

Classic Maya collapse

Spanish conquest of Yucatn

v  d  e

Surveys have revealed an average of 436 structures per square kilometer (1118 per square mile) in the site core, falling to 244 structures/km (626/square mile) in the periphery. At its height in the Late Preclassic, the population has been estimated at 1600 in the site core with a further 8000 dipersed through the periphery, to produce an estimated total population of almost ten thousand. In the Early Classic the population suffered a sever decline, population is estimated to have dropped to 34% of peak population. In the Late to Terminal Classic the population increased to 85% of its Late Preclassic level, an expansion that appears to have occurred rapidly and spread to all parts of the site, perhaps as the result of an influx of refugees arriving from other sites around AD 830. This was followed by a population crash to 14% of peak Preclassic population in the Early Postclassic (AD 9001200) prior to the complete abandonment of the site.

Known rulers

All dates A.D.

Name

Title or nickname

Ruled

Yich'aak B'alam

"Jaguar Claw"

c.735747+

Ajaw B'ot

"Ruler D", Ah-Bolon-Abta

771?

Wat'ul Chatel

Aj B'olon Haab'tal

830889+

History

The site was occupied by the Middle Preclassic, then declined from the Late Preclassic through to the Early Classic, with a renewed expansion in the Late to Terminal Classic before being completely abandoned.

Preclassic

Seibal was first settled around 900 BC in the Preclassic Period. It reached its peak population in the Late Preclassic around 200 BC. Ceramics from the deep Middle Preclassic levels at Seibal belong to the little known Xe phase, found in the western Petn region. A cruciform-shaped Olmec-style cache consisting of a bloodletter and jade celts is similar to those found in the Olmec heartland on the Gulf Coast of Mexico, and the artifacts were probably manufactured at La Venta. This cache dates to approximately 900 BC.

The earliest settlement in the Middle Preclassic was mostly confined to Group A. After 300 BC, in the Late Preclassic, settlement expanded to include Group D.

By the end of the Late Preclassic (or Protoclassic), Seibal experienced an unexplained decline in population.

Early Classic

During the Early Classic, the decline that began in the Late Preclassic continued unabated until the site was all but abandoned around AD 300 for unknown reasons.

Late Classic

Stela 16 from Dos Pilas depicts the defeated king of Seibal Yich'ak Balam.

Seibal underwent a revival in the Late Classic with an expansion of occupation linked to the great city of Tikal. About AD 650 new inhabitants moved into the city in order to found a new kingdom. Groups A and D saw new construction, with a particular emphasis on Group D, which became an important part of the ceremonial centre. Any monuments raised by the Late Classic rulers responsible for this renewed occupation were defaced when the city suffered a catastrophic defeat in the 8th century AD.

The earliest mention of Seibal in hieroglyphic inscriptions is on Stela 15 at Dos Pilas, dated to 13 October 721, and refers to Seibal becoming involved in the long-running war between the great cities of Tikal and Calakmul and their respective allies and vassals. Dos Pilas was a newly founded city in the Petexbatn region, established by Tikal to exert its control over the Pasin River, a strategy that backfired when Calakmul seized control of the fledgling kingdom.

Defeat

In AD 735 Ucha'an K'in B'alam, the third king in the dynasty of the vigorous new Dos Pilas kingdom, attacked Seibal, capturing Yich'aak B'alam, its king. The captive king was not executed but rather became a vassal of his more powerful neighbour. Ucha'an K'in B'alam raised monuments to his victory over Seibal at Dos Pilas, Aguateca and Seibal itself. Yich'aak B'alam is shown under the feet of Ucha'an K'in B'alam on Aguateca Stela 2. At Seibal a hieroglyphic stairway was built recording the city's new status as a vassal of Dos Pilas. At the same time as he erected these monuments to his victory, Ucha'an K'in B'alam ordered the destruction of the hieroglyphic records on the earlier monuments of Seibal, with inscriptions at Dos Pilas and Aguateca specifically recording the destruction of Seibal's previously recorded history using phrases that translate as "they destroyed the writing" and "they chopped the writing off the statues that were made".

Yich'aak B'alam continued as a vassal under the next king of Dos Pilas, K'awiil Chan K'inich, who presided over rituals at Seibal in 745 and 747.

Seibal regained its independence in the late 8th century with the destruction of the Dos Pilas kingdom. Ajaw B'ot acceeded to the throne in AD 771, restoring Seibal as an independent capital. After AD 800 Seibal fell into a thirty-year hiatus during which no new monuments were erected.

Terminal Classic

Detail of Stela 11 at Seibal, showing king Wat'ul Chatel.

With its independence came a new apogee, and for a brief time Seibal became a prominent regional capital located on the important Pasin River trade route. The architecture and ceramics from this period demonstrate connections with the northern Yucatn Peninsula and the Gulf Coast of Mexico. Seventeen stelae carved between AD 849 and 889 show a mix of Maya and foreign styles, including a lord wearing the beaked mask of Ehecatl, the central Mexican wind god, with a Mexican-style speech scroll emerging from the mouth. Some of these stelae have a stylistic affinity with the painted murals at Cacaxtla, a site in the central Mexican state of Tlaxcala. This hybrid style seem to indicate that the new lords of Seibal were Maya lords adapting to changing political conditions by adopting a mix of symbols originating from both lowland Maya and central Mexican sources. Some of the more foreign-looking stelae even bear non-Maya calendrical glyphs. Changes at Seibal at this time are associated with the Chontal-controlled trade flowing along the Pasin River. The Chontal Maya themselves were warrior-merchants originating from the Gulf Coast of Mexico who displayed a mixture of Maya and non-Maya characteristics.

Hieroglyphic texts at Seibal indicate that the city's newly refound vigour was sponsored by a new alliance formed by the cities of Caracol and Ucanal in the east, two sites that had so far survived the spreading Classic Maya collapse. It is likely that they were attempting to reopen the old Pasin-Usumacinta trade route and were drawn to Seibal by its defensible location overlooking the Pasin River. Seibal's refounding took place in AD 830 with the installation of its new lord, Wat'ul Chatel, as a vassal of Chan Ek' Hopet of Ucanal. The new king dedicated a new building and stelae in 849, overseen by "Jewel K'awil", king of Tikal, and Chan Pet, king of Calakmul. Wat'ul Chatel built an innovative new temple-stelae arrangement to the south of the Central Plaza of Group A. Structure A-3 consists of a low radial pyramid with an inventive arrangement of sculpted monuments.

Wat'ul Chatel's last monument was erected in 889, almost 60 years after his accession. This stela is also the last dated monument raised at Seibal and by 900 the city was all but abandoned, the whole region had been engulfed by the Classic Maya collapse and trade no longer flowed along the Pasin-Usumacinta route. Most Classic Maya capitals had already been abandoned and whatever external support Seibal had received from its overlord had vanished.

The late stelae at Seibal show a marked reduction in quality over a span of about forty years, with the loss of Classic Period traits, and bearing flatter and cruder representations than earlier stelae. This may reflect the loss of expertise in the Terminal Classic, with craftsmen less able to work monuments and large structures as time progressed.

Modern history

The ruins of Seibal were probably discovered around 1890 by loggers working for the Hamett Mahogany Company. Federico Artes first reported the existence of the ruins in 1892 after he was sent to Petn by the Guatemalan government in order to find material to be displayed in the Guatemalan exhibit for the 1893 World's Columbian Exposition in Chicago. He took molds from some of the stelae and the resulting casts were displayed in the Exposition, bringing the recent discovery of the ruins to the attention of archaeologists for the first time. Two years later, in July 1895, Seibal was explored by Teoberto Maler on behalf of the Peabody Museum of Harvard University. He made a site plan and discovered a new stela to add to those already discovered. He returned to the site for further investigations in August 1905 but discovered no new monuments. The Peabody Museum published Maler's work in 1908, including good quality photos of the stelae.

Seibal was next investigated by Sylvanus Morley in 1914 on behalf of the Carnegie Institution of Washington. Dr Barnum Brown visited the ruins in 1948, and members of the Altar de Sacrificios Expedition of the Peabody Museum made visits in 1961, 1962 and 1963.

In 1964, the Peabody Museum returned to the site with a thorough investigation that continued until 1968, led by Gordon R. Willey as Director and A. Ledyard Smith as Field Director. Further excavations were carried out from May to June in 2006 by the Proyecto Arqueolgico Ceibal-Petexbatun (Seibal-Petexbatun Archaeological Project).

The site

Seibal is a medium-sized site. The site core is divided into three principal hilltop groups (Groups A, C and D) connected by causeways and covers a little over 1km. The causeways were faced with masonry and had parapets in places. Causeway I is the western causeway, Causeway II is the south causeway and Causeway III is the eastern causeway. Group D is a fortress refuge concealed above the river frontage. Group B is a small complex located about 3 kilometres (1.9 mi) from the site core. Group A is smaller than Group D but has most of the sculptured monuments. Various small housemound groups lie beyond the site core. They are spaced between 50 and 100 metres (55 and 110 yd) apart, extending for several kilometers to the north, south and west.

Only two structures have been restored at Seibal, the A-3 temple platform and the C-79 circular platform. Both were restored during the investigations carried out by the Peabody Museum in the 1960s.

Seibal possesses a satellite site located to the north, known as El Anonal. This site has large structures built from clay that date to the Middle Preclassic period.

Architecture

Group A is in the site core. It features three plazas, the North, South and Central Plazas and lies at the west end of Causeway I. Group A has more than fifty mounds arranged around the three plazas. Monuments dating to the period when Seibal was a vassal of Dos Pilas (AD 735761) are situated in the Central Plaza of the group.

Group C lies on Causeway II, which passes through it to end at the circular Structure C-79. Group C has over forty mounds.

Group D is a compact group at the east end of Causeway III, it is perched in an easily defensible position at the edge of the bluffs overlooking the Pasin river. It has more than seventy structures crowded around five plazas. Group D only had one stela, which was a plain monument erected in front of a 20-metre (66 ft) high stepped pyramid.

The East Patio of Group A is part of an acropolis complex located behind Structure A-14. The complex is situated upon a massive platform raised almost 7 metres (23 ft) above the natural surface level. The patio was accessed by a stairway on the south side. It includes Structures A-15 and A-16.

Structure A-3

Structure A-3 is a temple platform located in the centre of the south plaza. It has a stairway ascending each of its four sides. Five stelae are associated with this structure, one located at the base of each stairway and a fifth inside the building surmounting the platform. Three large jade cobbles were interred under the central stela. This structure and its associated stelae were dedicated in AD 849 by king Wat'ul Chatel (also known as Aj B'olon Haab'tal). Structure A-3 has the remains of a corbeled vault, the only surviving example at Seibal. The arrangement of the radial pyramid with its associated stelae was highly innovative. The radial temple form was ancient in the Maya region, dating back to the Late Preclassic, but Wat'ul Chatel placed upon it a square shrine with four doors, one opening onto each of the stairways. The temple building contained three vaulted chambers oriented north-south, with doors joining each chamber along an east-west axis. The cornice of the temple supported a brightly coloured stucco frieze. The frieze collapsed with the temple in ancient times. Archaeologists were able to recover portions of the fallen frieze and attempt a reconstruction of how it originally appeared. Each of the four doors was originally topped by a larger-than-life sculpture of king Wat'ul Chatel. Twelve smaller figures were spaced around the cornice, one at each corner with an additional figure positioned half way between each corner and the central figure of the king. It is not known who these smaller figures represented. The spaces between the figures were occupied by panels with cross-hatch designs and sculpted vegetation and animals. Old gods sat in the centre of each of the sixteen panels, including Itzamna and Pawatun. Structure A-3 was built over an ealier platform structure.

Structure A-10, a 28-metre (92 ft) tall temple-pyramid, is the tallest structure at the site.

Structure A-13 is a radial pyramid. Excavations uncovered a mass burial (Burial 4) with parts of eleven people, including two women and a child. This was not a traditional Classic Maya burial and has been dated to AD 930, very late in the occupation of the site.

Structure A-14 is covered by the forest that has overgrown the northern part of the Central Plaza. It is a range structure running north-south and once had a hieroglyphic stairway detailing Seibal's defeat by Dos Pilas, although the inscriptions have now been removed to the old project camp. The structure was found to contain an elite female burial, labelled as Burial 1.

Structure A-15 is located on the north side of the East Patio of the North Plaza. It is a long, low structure running east-west and closing the patio on the north side. It measures 24 by 8 metres (79 by 26 ft) by 1.5 metres (4.9 ft) tall. The building contained a long room with a wide entrance opening southwards onto the patio, raised from the patio by a step. The room contained a stone bench built from reused blocks. The structure was superimposed upon two earlier substructures, the earliest of which had a different orientation to the final building. All three periods of construction appear to date to the Terminal Classic, with the last phase perhaps dating to about the time of the fall of the city.

Structure A-16 is located on the northeast side of the East Patio of the North Plaza. It is a rectangular structure measuring 16 by 10 metres (52 by 33 ft), running north-south and facing to the west. The remains of the structure stand 2.7 metres (8.9 ft) high. The western side of the building had been damaged by looters prior to archaeological investiagtion. The looters' trench measured 5 by 0.8 metres (16 by 2.6 ft) by 3.5 metres (11 ft) deep and cut through the structure's floor, bench and rear wall but did not uncover any burials or offerings. Fallen limestone blocks and slabs reveal that the structure once had a corbel-vaulted chamber. Fragments of stucco were also recovered, they once made up a colourful frieze above the front of the building that included modelled human figures. The stucco still had traces of orange, green and yellow paint. The building was a palace-type structure with perhaps six rooms, three on the west side and three on the east, and it was originally roofed in stone. The interior had an L-shaped bench. The structure was built of finely cut limestone blocks and the walls were coated with stucco painted orange and turquoise. It is believed that the building was part of a Terminal Classic royal palace with architectural features similar to those of the temple Structure A-3.

The unusual circular structure C-79.

Structure A-19 and Structure C-9 are ballcourts. They have a resemblance to ballcourts at Chichen Itza. Both ballcourts are aligned east-west, an unusual feature in the Maya area, although the topography of the site severely restricted the layout of the city to a principally east-west orientation. Ballcourt A-19 lies on the west side on the north plaza.

Structure C-79 is a circular three-tiered platform built during the Terminal Classic on top of a pre-existing structure dating to the Late Preclassic Period. Circular structures such as this have their origin in central Mexico, where they are typically temples of Ehecatl, the god of wind. However, the structure at Seibal was surmounted by a rectangular building platform, whereas the temple buildings of Ehecatl were also circular. Structure C-79 has two stairways, the larger ascends the west side, the smaller is on the east side. A circular jaguar altar rests on three pedestals before the structure, two of these are crouching figures that originally supported the altar, the third central column is modern and was put in place as an additional support during restoration of the ruins. The altar has the crude representation of a jaguar's head carved onto its edge. Structure C-79 and the associated altar are dated to about AD 870.

Monuments

Stela 2 at Seibal.

The monuments of Seibal include a number of stelae, carved stone shafts, often sculpted with figures and hieroglyphs. The monuments at Seibal are fashioned from a hard limestone, accounting for their generally excellent preservation. During excavations in the 1960s, 57 stelae were identified. Of these 22 were sculpted and 35 were plain.

Hieroglyphic Stairway 1 was located on the front of Structure A-14. The stairway was installed by king Ucha'an K'in B'alam of Dos Pilas to record Seibal's status as a vassal after its defeat by that city. The stones are no loner in situ, having been removed to the area of the camp of the old archaeological project.

Stela 1, on the north side of the South Plaza near Structure A-3, names someone called "Knife-Wing", who is also known at distant Chichen Itza. It is dated to AD 869.

Stela 2 is believed to date to around AD 870 although it bears no hieroglyphic text. It depicts the frontal view of a masked figure and is the only monument at Seibal to show a frontal portrayal. It was broken into six or seven pieces and has been restored.

Stela 3 bears a non-Maya calendrical date, one of the glyphs is cipactli, a crocodile head used to represent the first day of the 260-day calendar in central Mexico. This stela once stood next to Stela 2 but was removed to a museum in Guatemala City.

Stela 4 is badly damaged, having been broken into pieces by a falling tree. It was lost for sixty years before being rediscovered. It currently remains buried under a thin covering of soil.

Stela 5 lies to the north of the South Plaza and is badly damage. The broken middle section of the stela is all that is left, it bears the representation of a ballplayer and dates to about AD 780.

Stela 6 is slightly to the north of Stela 5, bearing hieroglyphic text. This stela was damaged in antiquity when the upper part was broken off and erected by an altar nearby.

Stela 7 stands to the north of stelae 5 and 6. It is in a reasonable state of preservation and bears the image of a ruler dressed as a ballplayer. This monument was probably dedicated in AD 780, although it records the accession of a king of Seibal in AD 771.

Stela 8 is a well preserved monument on the south side of Structure A-3. Here king Wat'ul Chatel wears jaguar claws on his hands and feet, together with other attributes of the Bearded Jaguar God. In one hand the king holds the head of the god K'awiil. The text describes a visitor named Hakawitzil, an early form of Jacawitz, the name of one of the patron gods of the Postclassic K'iche' Kingdom of Q'umarkaj in the Guatemalan Highlands. Schele and Mathews propose that the event depicted on this stela gave rise to the foundation legends of the K'iche' people.

Stela 9 was erected on the west side of Structure A-3. It is badly damaged and one section is missing. The stela depicts Wat'ul Chatel with the attributes of the Maize God and describes him invoking the Vision Serpent, which he grasps in his hands.

Stela 10 is on the north side of Structure A-3. It depicts king Wat'ul Chatel, dressed in Terminal Classic Maya style, although his foreign-looking face bears a moustache, which is not a typically Mayan characteristic. The text on this stela displays the emblem glyphs of Tikal, Calakmul and Motul de San Jos, describing how he received noble visitors from those cities. Among the visitors are named Kan-Pet of Calakmul and Kan-Ek' of Motul. Wat'ul Chatel wears a headdress associated with the patron gods of Seibal, the heron god and K'awiil, deities that were also the patrons of Palenque. This appears to be an attempt by this foreign king to identify himself more closely with the city he came to rule.

Stela 11 is on the east side of Structure A-3 and describes the refounding of Seibal on 14 March 830 and the installation of its new lord, Wat'ul Chatel, as a vassal of Chan Ek' Hopet of Ucanal. A panel beneath the portrait of the ruler depicts a bound captive. The hieroglyphic inscription describes how Wat'ul Chatel arrived with his palanquins and his patron deities.

Stela 13 stands a little to the west of the South Plaza. It dates to AD 870.

Stela 14 dates to about AD 870 and stands at the junction of two causeways and is in a good state of preservation. It has stylistic similarities with sculptures at distant Chichen Itza in the extreme north of the Yucatn Peninsula.

Stela 18 is one of the last stelae to be erected at Seibal, it lies 20 metres (66 ft) west of the group of monuments consisting of Stelae 5, 6 and 7.

Stela 19 demonstrates the foreign influences prevalent at Seibal during the Late Classic. It depicts a lord wearing a mask representing the central Mexican wind god Ehecatl.

Stela 20 stands to the west of the South Plaza. It was one of the last monuments to be erected at Seibal, dating to AD 889.

Stela 21 is located inside the chamber at the top of Structure A-3. This stela was badly damaged when the vaulted chamber collapsed on top of it and has also suffered from erosion. The monument has been restored and depicts the lord of Seibal Wat'ul Chatel bearing a manikin sceptre. Like Stela 8, the king wears attributes of the Bearded Jaguar God, although without the jaguar claws. The king holds a K'awiil sceptre raised in his right hand, from his other hand hands a shield with the face of the sun god. The inscription on the monument is largely illegible.

Notes

^ Sharer and Traxler 2006, p.520.

^ Sharer & Traxler 2006 p.520.

^ Sharer & Traxler 2006, p.520. Kelly 1996, p.154.

^ Sharer & Traxler 2006, p.520.

^ Sharer & Traxler 2006, p.520.

^ Sharer & Traxler 2006, p.689. Kelly 1996, p.154.

^ Tourtellot & Gonzlez 2005, p.61.

^ Schele & Mathews 1999, p.177.

^ Sharer & Traxler 2006, p.520.

^ Sharer & Traxler 2006, p.524.

^ Coe 1999, p.9. Kelly 1996, p.154. Schele & Mathews 1999, p.175. Peabody Museum of Archaeology and Ethnology (1).

^ Sharer & Traxler 2006, p.520. Tourtellot & Gonzlez 2005, p.60.

^ Smith 1968, p.82.

^ Smith 1968, p.82.

^ Martin & Grube 2000, p.58. Smith 1968, p.82.

^ Smith 1968, p.82.

^ Smith 1968, p.82.

^ Sharer & Traxler 2006, p.686.

^ Sharer & Traxler 2006, p.688.

^ Sharer & Traxler 2006, p.690.

^ Sharer & Traxler 2006, p.689.

^ Sharer & Traxler 2006, p.689. Tourtellot & Gonzlez 2005, p73.

^ Webster 2002, p.278.

^ Sharer & Traxler 2006, p.689.

^ Martin & Grube 2000, pp.61, 63.

^ Tourtellot & Gonzlez 2005, p.68.

^ Sharer & Traxler 2006, p.409. Tourtellot & Gonzlez 2005, p.68.

^ Tourtellot & Gonzlez 2005, pp.68-9.

^ Sharer & Traxler 2006, p.524.

^ Sharer & Traxler 2006, p.524.

^ Schele & Mathews 1999, p.176.

^ Sharer & Traxler 2006, pp.288-9. Schele & Mathews 1999, p.176.

^ Coe 1999, p.54.

^ Coe 1999, p.54. Sharer & Traxler 2006, p.202.

^ Adams 1996, p.82.

^ Smith 1968, p.82.

^ Smith 1968, p.84.

^ Smith 1968, p.84. Schele & Mathews 1999, p.176.

^ Miller 1999, pp.106-107.

^ Martin & Grube 2000, p.227.

^ Schele & Mathews 1999, p.176.

^ Smith 1968, p.84.

^ Schele & Mathews 1999, p.177.

^ Schele & Mathews 1999, pp.176-177.

^ "Master of Sun Jaguar"

^ "Jaguar Claw"

^ Sharer & Traxler 2006, p.520. Martin & Grube 2000, p.58, 61. Coe 1999, p.130. Schele & Mathews 1999, p.177.

^ Schele & Mathews 1999, p.177.

^ Sharer & Traxler 2006, p.407.

^ Schele & Mathews 1999, p.177.

^ Sharer & Traxler 2006, p.408.

^ Sharer & Traxler 2006, p.520.

^ Sharer & Traxler 2006, p.409.

^ Schele & Mathews 1999, p.178.

^ Tourtellot & Gonzlez 2005, p.66. Schele & Mathews 1999, p.182.

^ Sharer & Traxler 2006, p.521.

^ Sharer & Traxler 2006, p.522. Coe 1999, p.154.

^ Coe 1999, p.154.

^ Sharer & Traxler 2006, p.p528-9.

^ Sharer & Traxler 2006, p.522.

^ Sharer & Traxler 2006, pp.522-3.

^ Sharer & Traxler 2006, p.523.

^ Sharer & Traxler 2006, pp.313, 361, 524.

^ Schele & Mathews 1999, p.179.

^ Sharer & Traxler 2006, p.524. Tourtellot & Gonzlez 2005, p.81.

^ Sharer & Traxler 2006, p.524.

^ Tourtellot & Gonzlez 2005, p.70.

^ Smith 1968, p.84.

^ Kelly 1996, p.159.

^ Kelly 1996, p.159.

^ Smith 1968, p.84.

^ Sharer & Traxler 2006, p.520. Kelly 1996, p.159. Smith 1968, pp.82, 84.

^ Ponciano et al 2007, p.448.

^ Schele & Mathews 1999, p.175.

^ Sharer & Traxler 2006, p.520. Smith 1968, p.84.

^ Smith 1968, p.85.

^ Smith 1968, p.85.

^ Tourtellot & Gonzlez 2005, p.76.

^ Smith 1968, p.85.

^ Smith 1968, p.85.

^ Smith 1968, p.84.

^ Smith 1968, p.86.

^ Ponciano et al 2007, pp.449, 469.

^ Sharer & Traxler 2006, p.520. Smith 1968, p.85. Ponciano et al 2007, p.452.

^ Schele & Mathews 1999, pp.177-178.

^ Smith 1968, p.85.

^ Smith 1968, p.85. Schele & Mathews 1999, pp.175-176.

^ Smith 1968, p.85.

^ Ponciano et al 2007, p.451.

^ Sharer and Traxler 2006, p.520. Tourtellot & Gonzlez 2005, p.68.

^ Schele & Mathews 1999, p.182.

^ Sharer and Traxler 2006, p.523. Tourtellot & Gonzlez 2005, p.69.

^ Kelly 1996, p.154.

^ Schele & Mathews 1999, pp.179-181.

^ Smith 1968, p.85.

^ Tourtellot & Gonzlez 2005, pp.63, 71.

^ Schele & Mathews 1999, p.178. Ponciano et al 2007, pp.451-452.

^ Tourtellot & Gonzlez 2005, p.63.

^ Ponciano et al 2007, pp.449-451, 459.

^ Ponciano et al 2007, pp.449-454, 457.

^ Tourtellot & Gonzlez 2005, p.72.

^ Tourtellot & Gonzlez 2005, pp.71-2.

^ Scarborough 1991, p.138.

^ Sharer and Traxler 2006, p.520. Tourtellot & Gonzlez 2005, p.65.

^ Kelly 1996, p.158. Sharer and Traxler 2006, p.521.

^ Sharer and Traxler 2006, p.520. Miller & Taube p.85.

^ Tourtellot & Gonzlez 2005, p.72.

^ Kelly 1996, p.158.

^ Smith 1968, p.91. Kelly 1996, p.158.

^ Kelly 1996, p.158.

^ Smith 1968, p.93.

^ Kelly 1996, p.154.

^ Smith 1968, p.94.

^ Ponciano et al 2007, p.451.

^ Schele & Mathews 1999, pp.177-178.

^ Tourtellot & Gonzlez 2005, pp69-70. Kelly 1996, p.156.

^ Kelly 1996, pp.156-7.

^ Smith 1968, p.93.

^ Miller 2001, p.163.

^ Kelly 1996, p.157.

^ Peabody Museum of Archaeology and Ethnology (2).

^ Kelly 1996, p.157.

^ Kelly 1996, p.157.

^ Kelly 1996, p.157.

^ Kelly 1996, p.156. Schele & Mathews 1999, pp.190-191.

^ Schele & Mathews 1999, pp.190-193.

^ Kelly 1996, pp.154, 156.

^ Schele & Mathews 1999, pp.187-188.

^ Kelly 1996, p.156.

^ Sharer & Traxler 2006, p.523. Schele & Mathews 1999, pp.185-187.

^ Schele & Mathews 1999, p.187.

^ Schele & Mathews 1999, p.185.

^ Sharer & Traxler 2006, p.523. Kelly 1996, p.156. Schele & Mathews 1999, p.182.

^ Kelly 1996, p.156. Schele & Mathews 1999, p.182.

^ Schele & Mathews 1999, p.183.

^ Kelly 1996, p.157.

^ Kelly 1996, p.158.

^ Kelly 1996, p.157.

^ Sharer & Traxler 2006, p.522.

^ Kelly 1996, p.157.

^ Kelly 1996, p.156. Schele & Mathews 1999, pp.193-195.

References

Adams, Richard E.W. (1996). Prehistoric Mesoamerica (Revised ed.). Norman: University of Oklahoma Press. ISBN 0-8061-2834-8. OCLC 22593466. 

Coe, Michael D. (1999). The Maya. Ancient peoples and places series (6th edition, fully revised and expanded ed.). London and New York: Thames & Hudson. ISBN 0-500-28066-5. OCLC 59432778. 

Kelly, Joyce (1996). An Archaeological Guide to Northern Central America: Belize, Guatemala, Honduras, and El Salvador. Norman: University of Oklahoma Press. ISBN 0-8061-2858-5. OCLC 34658843. 

Martin, Simon; and Nikolai Grube (2000). Chronicle of the Maya Kings and Queens: Deciphering the Dynasties of the Ancient Maya. London and New York: Thames & Hudson. ISBN 0-500-05103-8. OCLC 47358325. 

Miller, Mary Ellen (1999). Maya Art and Architecture. London and New York: Thames & Hudson. ISBN 0-500-20327-X. OCLC 41659173. 

Miller, Mary Ellen (2001). The Art of Mesoamerica: From Olmec to Aztec. World of Art series (3rd ed.). London: Thames & Hudson. ISBN 0-500-20345-8. OCLC 59530512. 

Miller, Mary; and Karl Taube (1993, 2003). An Illustrated Dictionary of the Gods and Symbols of Ancient Mexico and the Maya. London: Thames & Hudson. ISBN 0-500-27928-4. OCLC 28801551. 

Peabody Museum of Archaeology and Ethnology (1). "Seibal at the Corpus of Maya Hieroglyphic Inscriptions". Peabody Museum of Archaeology and Ethnology. http://www.peabody.harvard.edu/CMHI/site.php?site=Seibal. Retrieved 2010/02/16. 

Peabody Museum of Archaeology and Ethnology (2). "Seibal Stela 4 at the Corpus of Maya Hieroglyphic Inscriptions". Peabody Museum of Archaeology and Ethnology. http://www.peabody.harvard.edu/CMHI/detail.php?num=4&site=Seibal&type=Stela. Retrieved 2010/02/16. 

Ponciano, Erick M.; Takeshi Inomata;Daniela Triadan; Estela Pinto; Jessica Munson and Omar Schwendener (2007). "Revisitando Ceibal: Cambios sociales durante el Preclsico y Clsico Terminal en la regin del Pasin." (versin digital). XX Simposio de Investigaciones Arqueolgicas en Guatemala, 2006 (edited by J.P. Laporte, B. Arroyo and H. Meja) (Guatemala: Museo Nacional de Arqueologa y Etnologa): pp.448-463. http://www.asociaciontikal.com/pdf/28_-_Ponciano_et_al.pdf. Retrieved 2010/02/16.  (Spanish)

Scarborough, Vernon L. (1991). "Courting in the Southern Maya Lowlands: A Study in Pre-Hispanic Ballgame Architecture". in Vernon Scarborough and David R. Wilcox (eds.). The Mesoamerican Ballgame. Tucson: University of Arizona Press. pp. 129144. ISBN 0-8165-1360-0. OCLC 51873028. 

Schele, Linda; and Peter Mathews (1999). The Code of Kings: The language of seven Maya temples and tombs. New York: Simon & Schuster. ISBN 978-0-684-85209-6. OCLC 41423034. 

Sharer, Robert J.; with Loa P. Traxler (2006). The Ancient Maya (6th (fully revised) ed.). Stanford, CA: Stanford University Press. ISBN 0-8047-4817-9. OCLC 57577446. 

Smith, A. Ledyard (1968). "Reconstruction at the Maya Ruins of Seibal" (PDF). Monumentum, Vol II, 1968. Peabody Museum. http://www.international.icomos.org/monumentum/vol2/vol2_5.pdf. Retrieved 2009-01-31. 

Tourtellot, Gair; and Jason J. Gonzlez (2005). "The Last Hurrah: Continuity and Transformation at Seibal". in Arthur A. Demarest, Prudence M. Rice and Don S. Rice (eds.). The Terminal Classic in the Maya lowlands: Collapse, transition, and transformation. Boulder: University Press of Colorado. pp. 6082. ISBN 0-87081-822-8. OCLC 61719499. 

Webster, David L. (2002). The Fall of the Ancient Maya: Solving the Mystery of the Maya Collapse. London: Thames & Hudson. ISBN 0-500-05113-5. OCLC 48753878. 

External links

Wikimedia Commons has media related to: Seibal

Seibal History and Photo Gallery

Seibal at the Peabody Museum, includes links to illustrations of all the major monuments, with descriptions.

Coordinates: 163042 90340 / 16.51167N 90.06111W / 16.51167; -90.06111

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See also: Pre-Columbian

Categories: Maya sites | Maya sites in Guatemala | Former settlements in Guatemala | Petn Department

Electronic color code

China Product


Resistor, capacitor and inductor

It is sometimes not obvious whether a color coded component is a resistor, capacitor, or inductor, and this may be deduced by knowledge of its circuit function, physical shape or by measurement (capacitors have nearly infinite resistance; unfortunately, so do faulty open-circuit resistors and inductors).

One decade of the preferred E12 values (there are twelve preferred values per decade of values) shown with their electronic color codes on resistors. the boom headset

A 100 k, 5% through-hole resistor. h5 bluetooth headset

A 0 resistor, marked with a single black band. motorcycle helmet headsets



Resistor values are always coded in ohms, capacitors in picofarads (pF), and inductors in microhenries (H).

band A is first significant figure of component value

band B is the second significant figure

band C is the decimal multiplier

band D if present, indicates tolerance of value in percent (no color means 20%)

For example, a resistor with bands of yellow, violet, red, and gold will have first digit 4 (yellow in table below), second digit 7 (violet), followed by 2 (red) zeros: 4,700 ohms. Gold signifies that the tolerance is 5%, so the real resistance could lie anywhere between 4,465 and 4,935 ohms.

Resistors manufactured for military use may also include a fifth band which indicates component failure rate (reliability); refer to MIL-HDBK-199 for further details.

Tight tolerance resistors may have three bands for significant figures rather than two, and/or an additional band indicating temperature coefficient, in units of ppm/K.

All coded components will have at least two value bands and a multiplier; other bands are optional (italicised below).

The standard color code per EN 60062:2005 is as follows:

Color

Significant

figures

Multiplier

Tolerance

Temp. Coefficient (ppm/K)

Black

0

100

250

U

Brown

1

101

1%

F

100

S

Red

2

102

2%

G

50

R

Orange

3

103

15

P

Yellow

4

104

25

Q

Green

5

105

0.5%

D

20

Z

Blue

6

106

0.25%

C

10

Z

Violet

7

107

0.1%

B

5

M

Gray

8

108

0.05%

A

1

K

White

9

109

Gold

10-1

5%

J

Silver

10-2

10%

K

None

20%

M

Any temperature coefficent not assigned its own letter shall be markd "Z", and the coefficient found in other documentation.

For more information, see EN 60062.

As an example, let us take a resistor which (read left to right) displays the colors yellow, violet, yellow, brown. We take the first two bands as the value, giving us 4, 7. Then the third band, another yellow, gives us the multiplier 104. Our total value is then 47 x 104 , totalling 470,000  or 470 k. Our brown is then a tolerance of 1%.

Resistors use specific values, which are determined by their tolerance. These values repeat for every order of magnitude; 6.8, 68, 680, and so forth. This is useful because the digits, and hence the first two or three stripes, will always be similar patterns of colors, which make them easier to understand.

Zero ohm resistors are manufactured; these are lengths of wire wrapped in a resistor-shaped body which can be substituted for another resistor value in automatic insertion equipment. They are marked with a single black band.

The 'body-end-dot' or 'body-tip-spot' system was used for radial-lead composition resistors sometimes found in vacuum-tube equipment; the first band was given by the body color, the second band by the color of the end of the resistor, and the multiplier by a dot or band around the middle of the resistor. The other end of the resistor was colored gold or silver to give the tolerance, otherwise it was 20%.

Extra bands on ceramic capacitors will identify the voltage rating class and temperature coefficient characteristics. A broad black band was applied to some tubular paper capacitors to indicate the end that had the outer electrode; this allowed this end to be connected to chassis ground to provide some shielding against hum and noise pickup.

Polyester film and "gum drop" tantalum electrolytic capacitors are also color coded to give the value, working voltage and tolerance.

Diode part number

The part number for diodes was sometimes also encoded as colored rings around the diode, using the same numerals as for other parts. The JEDEC "1N" prefix was assumed, and the balance of the part number was given by three or four rings.

Postage stamp capacitors and war standard coding

Capacitors of the rectangular 'postage stamp" form made for military use during World War II used American War Standard (AWS) or Joint Army Navy (JAN) coding in six dots stamped on the capacitor. An arrow on the top row of dots pointed to the right, indicating the reading order. From left to right the top dots were: black, indicating JAN mica or silver indicating AWS paper. first and second significant figures. The bottom three dots indicated temperature characteristic, tolerance, and decimal multiplier. The characteristic was black for +/- 1000 ppm/ degree c, brown for 500, red for 200, orange for 100, yellow for -20 to +1-- ppm/ degree c, and green for 0 to +70 ppm/degree C. A similar six-dot code by EIA had the top row as first, second and third significant digits and the bottom row as voltage rating (in hundreds of volts - no color indicated 500 volts), tolerance, and multiplier. A three-dot EIA code was used for 500 volt 20% tolerance capacitors, and the dots signified first and second significant digits and the multiplier. Such capacitors were common in vacuum tube equipment and in surplus for a generation after the war but are unavailable now.

Mnemonics

A useful mnemonic matches the first letter of the color code, by order of increasing magnitude. There are many variations:

Badly Burnt Resistors On Your Ground Bus Void General Warranties

Better Build Roof Over Your Garage Before Vehicle Gets Wet

Boys better remember our young girls become very good wives.. BYU Engineering Department

Bad boys rape our young girls behind victory garden walls.

Bad boys rape 'onest young girls but virgins go without.

Bad boys run our young girls behind victory garden walls.

Bad boys rape our young girls but Violet gives willingly.

Big boys race our young girls but Violet generally wins.

The tolerance codes, gold, silver, and none, are not usually included in the mnemonics; one extension that includes them is:

Bad beer rots our young guts but vodka goes well get some now.

Since B can stand for both "black" and "brown", variations are formed such as "Black boys rape our young girls...".

Humorous, offensive, or sexual mnemonics are more memorable (see mnemonic), but these variations are often considered inappropriate for classrooms, and have been implicated as a sign of sexism in science and engineering classes. Dr. Latanya Sweeney, associate professor of computer science at Carnegie Mellon, a black woman, mentions the mnemonic ("black boys rape only young girls but Violet gives willingly") as one of the reasons she felt alienated and eventually dropped out of MIT in the 1980s to form her own software company.

A politically-correct mnemonic that has attained some traction in recent years is:

Big brown rabbits often yield great big vocal groans when gingerly slapped.

Another mnemonic that is not offensive and can be used in the classroom is:

B. B. ROY of Great Britain has Very Good Wife.

Other mnemonics commonly taught in UK engineering courses include:

Bye Bye Rosie Off You Go Birmingham Via Great Western

Bye Bye Rosie Off You Go Bristol Via Great Western

Bye Bye Rosie Off You Go But Via Great Western

Bye Bye Rosie Off You Go do Become a Very Good Wife

Bill Brown Realized Only Yesterday Good Boys Value Good Work

The colors are sorted in the order of the visible light spectrum: red (2), orange (3), yellow (4), green (5), blue (6), violet (7). Black (0) has no energy, brown (1) has a little more, white (9) has everything and grey (8) is like white, but less intense.

Examples

Resistors color code

From top to bottom:

Green-Blue-Brown-Black-Brown

560  1%

Red-Red-Orange-Gold

22,000  5%

Yellow-Violet-Brown-Gold

470  5%

Blue-Gray-Black-Silver

68  10%

Note: The physical size of a resistor is indicative of the power it can dissipate, not of its resistance.

Printed numbers

0 and 27 (27100) surface-mount resistors.

Color-coding of this form is becoming rarer. In newer equipment, most passive components come in surface mount packages. Many of these packages are unlabeled, and those that are normally use alphanumeric codes, not colors.

In one popular marking method, the manufacturer prints 3 digits on components: 2 value digits followed by the power of ten multiplier. Thus the value of a resistor marked 472 is 4,700 , a capacitor marked 104 is 100 nF (10x104 pF), and an inductor marked 475 is 4.7 H (4,700,000 H). This can be confusing; a resistor marked 270 might seem to be a 270  unit, when the value is actually 27  (27100). A similar method is used to code precision surface mount resistors by using a 4-digit code which has 3 significant figures and a power of ten multiplier. Using the same example as above, 4701 would represent a 4.70 K, 1% resistor. Another way is to use the "kilo-" or "mega-" prefixes in place of the decimal point:

1K2 = 1.2 k = 1,200 

M47 = 0.47 M = 470,000 

68R = 68

For some 1% resistors, a three-digit alphanumeric code is sometimes used, which is not obviously related to the value but can be derived from a table of 1% values. For instance, a resistor marked 68C is 499(68) 100(C) = 49,900 . In this case the value 499 is the 68th entry of a table of 1% values between 100 and 999.

Transformer wiring color codes

Power transformers used in North American vacuum-tube equipment often were color-coded to identify the leads. Black was the primary connection, red secondary for the B+ (plate voltage), red with a yellow tracer was the center tap for the B+ full-wave rectfier winding, green or brown was the heater voltage for all tubes, yellow was the filament voltage for the rectifier tube (often a different voltage than other tube heaters). Two wires of each color were provided for each circuit, and polarity was not identified by the color code.

Audio transformers for vacuum tube equipment were coded blue for the finishing lead of the primary, red for the B+ lead of the primary, brown for a primary center tap, green for the finishing lead of the secondary, black for grid lead of the secondary, and yellow for a tapped secondary. Each lead had a different color since polarity was more important for these transformers. Intermediate-frequency tuned transformers were coded blue and red for the primary and green and black for the secondary.

Other wiring codes

Wires may be color-coded to identify their function, voltage class,polarity, phase or to identify the circuit in which they are used. The insulation of the wire may be solidly colored, or where more combinations are needed, one or two tracer stripes may be added. Some wiring color codes are set by national regulations, but often a color code is specific to a manufacturer or industry.

Building wiring under the US National Electrical Code and the Canadian Electrical Code is identified by colors to show energized and neutral conductors, grounding conductors and to identify phases. Other color codes are used in the UK and other areas to identify building wiring or flexible cable wiring.

Thermocouple wires and extension cables are identified by color code for the type of thermocouple; interchanging thermocouples with unsuitable extension wires destroys the accuracy of the measurement.

Automotive wiring is color-coded but standards vary by manufacturer; differing SAE and DIN standards exist.

Modern personal computer peripheral cables and connectors are color coded to simplify connection of speakers, microphones, mice, keyboards and other peripherals.

A common convention for wiring systems in industrial buildings is; black jacket - AC less than 1000 volts, blue jacket - DC or communications, orange jacket - medium voltage 230-0 or 4160 V, red jacket 13,800 volts or higher.

Local area network cables may also have jacket colors identifying, for example, process control network vs. office automation networks, or to identify redundant network connections, but these codes vary by organization and facility.

See also

25-pair color code for wiring

Other color codes

References

^ IEC 60062 Title: "Marking codes for resistors and capacitors" (IEC Webstore)

^ NIC Components Corp. NZO series zero-ohm resistors.

^ Reference Data for Radio Engineers, page 52

^ Reference Data for Radio Engineers,Federal Telephone and Radio Corporation, 2nd edition, 1946 page 52

^ Tony Dorbuck (ed),The Radio Amateur's Handbook Fifty Fifth (1978 edition), The American Radio Relay Leaague, Connecticut 1977 , no ISBN, Library of congress card no. 41-3345, page 553

^ a b Booker, M. Keith (1993). Literature and Domination: Sex, Knowledge, and Power in Modern Fiction. University Press of Florida. ISBN 0813011957. http://books.google.com/books?id=EEt6pm0e5IAC&pg=PA105&ots=5WFzofxqUq&dq=%22bad+boys+rape+our+young+girls%22&sig=njfuNiBbH8FsQ6frNNPJQPenTs4. 

^ a b Pynchon, Thomas (1999). V. HarperCollins. pp. 560. ISBN 0060930217. http://books.google.com/books?id=jqS2pmUIfOAC&pg=PA414&ots=PPtcnk8bjF&dq=bad+boys+rape+our+young+girls&sig=yTYa3uA0J3cG11ZBohUleRDxSOc. 

^ a b Indiana University. Midwest Folklore (v.10-11 1960-1961 ed.). http://books.google.com/books?id=i4YZAAAAMAAJ&q=%22black+boys+rape+our+young+girls%22&dq=%22black+boys+rape+our+young+girls%22&ei=LZqTR-TGJoXasQPCiJVJ&pgis=1. 

^ Meade, Russell L.; Robert Diffenderfer (2004). Foundations of Electronics: Circuits and Devices. Thomson Delmar Learning. ISBN 1401859763. http://books.google.com/books?id=dYO8PbYnq_YC&pg=PA48&ots=W4p9RZhxF5&dq=Big+Boys+Race+Our+Young+Girls+But+Violet+Generally+Wins&sig=A0JNWNxuBW95-1w8SQtjgL-aISU. 

^ The Mnemonics Page - Dean Campbell, Bradley University Chemistry Department

^ Morse, Mary (2001). Women Changing Science: Voices from a Field in Transition. Basic Books. pp. 308. ISBN 0738206156. http://books.google.com/books?id=veqNOLMfqOIC&pg=PA44&ots=hyCpVCeiat&dq=%22bad+boys+rape+our+young+girls%22&sig=KB6Xj8ml1xw1s5JE7iSmbFsOuBM#PPA44,M1. 

^ Roth, Mark (2005-12-26). "The Thinkers: Data privacy drives CMU expert's work". Pittsburgh Post-Gazette. http://privacy.cs.cmu.edu/news/postgazette2.html. Retrieved 2007-07-24. 

^ Walter, Chip (2007-06-27). "Privacy Isn't Dead, or At Least It Shouldn't Be: A Q&A with Latanya Sweeney". Scientific American. http://sciam.com/print_version.cfm?articleID=6A2EF194-E7F2-99DF-3323DA6BA4346B0B. Retrieved 2007-07-24. 

^ Benjamin W. Niebel and Andris Freivalds (2003). Methods, Standards, and Work Design (eleventh ed.). McGraw-Hill Professional. p. 297. ISBN 9780072468243. http://books.google.com/books?id=ApXSoagqrxcC&pg=PA297&dq=resistor+color-code+mnemonic+%22big+brown%22&lr=&as_brr=3&as_pt=ALLTYPES&ei=tzaiSZigOZvgkASsy6GNAg. 

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^ Jack G. Ganssle, Tammy Noergaard, Fred Eady, Lewin Edwards, David J. Katz, Rick Gentile, Ken Arnold, Kamal Hyder, and Bob Perrin (2008). Embedded Hardware: Know It All. Newnes. p. 17. ISBN 9780750685849. http://books.google.com/books?id=HLpTtLjEXqcC&pg=PA17&dq=resistor+color-code+mnemonic+%22big+brown%22&lr=&as_brr=3&as_pt=ALLTYPES&ei=tzaiSZigOZvgkASsy6GNAg. 

^ Various. Xam Idea - Physics. VK Publications. p. 78. ISBN 9788188597659. http://books.google.co.in/books?id=pXhdMOCCfDcC&printsec=frontcover&source=gbs_summary_r&cad=0#PRA1-PA78,M1. 

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^ Dorbuck 77, page 554

External links

IEC 60062 (IEC Webstore)

Wikimedia Commons has media related to: Electronic color code

5-band Resistor Color Code Calculator

Resistor color code calculator (Used to explore E-ranges and color codes.)

Guide to SMD resistor codes, including alphanumeric codes

Categories: Color codes | Electrical components | Electronic engineering | Mnemonics