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Alabaster

Alabaster is a mineral and a soft rock used for carvings and as a source of plaster powder. Archaeologists, geologists, and the stone industry have different definitions for the word alabaster. In archaeology, the term alabaster includes objects and artefacts made from two different minerals: (i) the fine-grained, massive type of gypsum, and (ii) the fine-grained, banded type of calcite.

Chemically, gypsum is a hydrous sulfate of calcium, whereas calcite is a carbonate of calcium. As types of alabaster, gypsum and calcite have similar properties, such as light color, translucence, and soft stones that can be carved and sculpted; thus the historical use and application of alabaster for the production of carved, decorative artefacts and objets d’art. Calcite alabaster also is known as: onyx-marble, Egyptian alabaster, and Oriental alabaster, which terms usually describe either a compact, banded travertine stone or a stalagmitic limestone colored with swirling bands of cream and brown.

In general, ancient alabaster is calcite in the wider Middle East, including Egypt and Mesopotamia, while it is gypsum in medieval Europe. Modern alabaster is most likely calcite but may be either. Both are easy to work and slightly soluble in water. They have been used for making a variety of indoor artwork and carving, as they will not survive long outdoors.

The two types are readily distinguished by their different hardness: gypsum alabaster (Mohs hardness 1.5 to 2) is so soft that a fingernail scratches it, while calcite (Mohs hardness 3) cannot be scratched in this way but yields to a knife. Moreover, calcite alabaster, being a carbonate, effervesces when treated with hydrochloric acid, while gypsum alabaster remains almost unaffected.

Etymology
The English word "alabaster" was borrowed from Old French alabastre, in turn derived from Latin alabaster, and that from Greek ἀλάβαστρος (alábastros) or ἀλάβαστος (alábastos). The Greek words denoted a vase of alabaster.

The name may be derived further from ancient Egyptian a-labaste, which refers to vessels of the Egyptian goddess Bast. She was represented as a lioness and frequently depicted as such in figures placed atop these alabaster vessels. Ancient Roman authors Pliny the Elder and Ptolemy wrote that the stone used for ointment jars called alabastra came from a region of Egypt known as Alabastron or Alabastrites.

Properties and usability
The purest alabaster is a snow-white material of fine uniform grain, but it often is associated with an oxide of iron, which produces brown clouding and veining in the stone. The coarser varieties of gypsum alabaster are converted by calcination into plaster of Paris, and are sometimes known as "plaster stone".

The softness of alabaster enables it to be carved readily into elaborate forms, but its solubility in water renders it unsuitable for outdoor work. If alabaster with a smooth, polished surface is washed with dishwashing liquid, it will become rough, dull and whiter, losing most of its translucency and lustre. The finer kinds of alabaster are employed largely as an ornamental stone, especially for ecclesiastical decoration and for the rails of staircases and halls.

Working techniques
Alabaster is mined and then sold in blocks to alabaster workshops. There they are cut to the needed size ("squaring"), and then are processed in different techniques: turned on a lathe for round shapes, carved into three-dimensional sculptures, chiselled to produce low relief figures or decoration; and then given an elaborate finish that reveals its transparency, colour, and texture.

Marble imitation
In order to diminish the translucency of the alabaster and to produce an opacity suggestive of true marble, the statues are immersed in a bath of water and heated gradually—nearly to the boiling point—an operation requiring great care, because if the temperature is not regulated carefully, the stone acquires a dead-white, chalky appearance. The effect of heating appears to be a partial dehydration of the gypsum. If properly treated, it very closely resembles true marble and is known as "marmo di Castellina".

Dyeing
Alabaster is a porous stone and can be "dyed" into any colour or shade, a technique used for centuries. For this the stone needs to be fully immersed in various pigmentary solutions and heated to a specific temperature. The technique can be used to disguise alabaster. In this way a very misleading imitation of coral that is called "alabaster coral" is produced.

Types, occurrence, history
Typically only one type is sculpted in any particular cultural environment, but sometimes both have been worked to make similar pieces in the same place and time. This was the case with small flasks of the alabastron type made in Cyprus from the Bronze Age into the Classical period.

Window panels
When cut into thin sheets, alabaster is translucent enough to be used for small windows. It was used for this purpose in Byzantine churches and later in medieval ones, especially in Italy. Large sheets of Aragonese gypsum alabaster are used extensively in the Cathedral of Our Lady of the Angels, dedicated in 2002 by the Los Angeles, California, Archdiocese. The cathedral incorporates special cooling to prevent the panes from overheating and turning opaque. The ancients used the calcite type, while the modern Los Angeles cathedral employs gypsum alabaster. There are also multiple examples of alabaster windows in ordinary village churches and monasteries in northern Spain.

Calcite alabaster

Calcite alabaster, harder than the gypsum variety, was used in ancient Egypt and the wider Middle East (except Assyrian palace reliefs), and also in modern times. It is found as either a stalagmitic deposit from the floor and walls of limestone caverns, or as a kind of travertine, similarly deposited in springs of calcareous water. Its deposition in successive layers gives rise to the banded appearance that the marble often shows on cross-section, from which its name is derived: onyx-marble or alabaster-onyx, or sometimes simply (and wrongly) as onyx.

Egypt and the Middle East
Egyptian alabaster has been worked extensively near Suez and Assiut.

This stone variety is the "alabaster" of the ancient Egyptians and Bible and is often termed Oriental alabaster, since the early examples came from the Far East. The Greek name alabastrites is said to be derived from the town of Alabastron in Egypt, where the stone was quarried. The locality may owe its name to the mineral; though the origin of the mineral name is obscure

The "Oriental" alabaster was highly esteemed for making small perfume bottles or ointment vases called alabastra; the vessel name has been suggested as a possible source of the mineral name. In Egypt, craftsmen used alabaster for canopic jars and various other sacred and sepulchral objects. The sarcophagus of Seti I, found in his tomb near Thebes, is on display in Sir John Soane's Museum, London; it is carved in a single block of translucent calcite alabaster from Alabastron.

Algerian onyx-marble has been quarried largely in the province of Oran.

Calcite alabaster was quarried in ancient Israel in the cave known as the Twins Cave near Beit Shemesh. Herod used this alabaster for baths in his palaces.

North America
In Mexico, there are famous deposits of a delicate green variety at La Pedrara, in the district of Tecali, near Puebla. Onyx-marble occurs also in the district of Tehuacán and at several localities in the US including California, Arizona, Utah, Colorado and Virginia.

Gypsum alabaster
Gypsum alabaster is softer than calcite alabaster. It was used primarily in medieval Europe, and is also used in modern times.

Ancient and Classical Near East
"Mosul marble" is a kind of gypsum alabaster found in the north of modern Iraq, which was used for the Assyrian palace reliefs of the 9th to 7th centuries BC; these are the largest type of alabaster sculptures to have been regularly made. The relief is very low and the carving detailed, but large rooms were lined with continuous compositions on slabs around 7 ft high. The Lion Hunt of Ashurbanipal and military Lachish reliefs, both 7th century and in the British Museum, are some of the best known.

Gypsum alabaster was widely used for small sculpture for indoor use in the ancient world, especially in ancient Egypt and Mesopotamia. Fine detail could be obtained in a material with an attractive finish without iron or steel tools. Alabaster was used for vessels dedicated for use in the cult of the deity Bast in the culture of the ancient Egyptians, and thousands of gypsum alabaster artifacts dating to the late 4th millennium BC also have been found in Tell Brak (modern Nagar), in Syria.

In Mesopotamia, gypsum alabaster was the material of choice for figures of deities and devotees in temples, as in a figure believed to represent the deity Abu dating to the first half of the 3rd millennium BC, which is kept in New York.

Aragon, Spain
Much of the world's alabaster is extracted from the centre of the Ebro Valley in Aragon, Spain, which has the world's largest known exploitable deposits. According to a brochure published by the Aragon government, alabaster has elsewhere either been depleted, or its extraction is so difficult that it has almost been abandoned or is carried out at a very high cost. There are two separate sites in Aragon, both are located in Tertiary basins. The most important site is the Fuentes-Azaila area, in the Tertiary Ebro Basin. The other is the Calatayud-Teruel Basin, which divides the Iberian Range in two main sectors (NW and SE).

The abundance of Aragonese alabaster was crucial for its use in architecture, sculpture and decoration. There is no record of use by pre-Roman cultures, so the first ones to use alabaster from Aragon may have been the Romans, who produced vessels from alabaster following the Greek and Egyptian models. It seems that since the reconstruction of the Roman Wall in Zaragoza in the 3rd century AD with alabaster, the use of this material became common in building for centuries. Muslim Saraqusta (Zaragoza) was also called "Medina Albaida", the White City, due to the appearance of its alabaster walls and palaces, which stood out among gardens, groves and orchards by the Ebro and Huerva Rivers.

The oldest remains in the Aljafería Palace, together with other interesting elements like capitals, reliefs and inscriptions, were made using alabaster, but it was during the artistic and economic blossoming of the Renaissance that Aragonese alabaster reached its golden age. In the 16th century sculptors in Aragon chose alabaster for their best works. They were adept at exploiting its lighting qualities and generally speaking the finished art pieces retained their natural color.

Volterra (Tuscany)
In modern Europe, the centre of the alabaster trade is Florence, Italy. Tuscan alabaster occurs in nodular masses embedded in limestone, interstratified with marls of Miocene and Pliocene age. The mineral is worked largely by means of underground galleries, in the district of Volterra. Several varieties are recognized—veined, spotted, clouded, agatiform, and others. The finest kind, obtained principally from Castellina, is sent to Florence for figure-sculpture, while the common kinds are carved locally, into vases, lights, and various ornamental objects. These items are objects of extensive trade, especially in Florence, Pisa, and Livorno.

In the 3rd century BC the Etruscans used the alabaster of Tuscany from the area of modern-day Volterra to produce funeral urns, possibly taught by Greek artists. During the Middle Ages the craft of alabaster was almost completely forgotten. A revival started in the mid-16th century, and until the beginning of the 17th century alabaster work was strictly artistic and did not expand to form a large industry.

In the 17th and 18th centuries production of artistic, high-quality Renaissance-style artifacts stopped altogether, replaced by less sophisticated, cheaper items better suited for large-scale production and commerce. The new industry prospered, but the reduced need for skilled craftsmen left few of them still working. The 19th century brought a boom to the industry, largely due to the "traveling artisans" who offered their wares to the palaces of Europe, as well as to America and the East.

In the 19th century new processing technology was also introduced, allowing for the production of custom-made, unique pieces, as well as the combination of alabaster with other materials. Apart from the newly developed craft, artistic work became again possible, chiefly by Volterran sculptor Albino Funaioli. After a short slump, the industry was revived again by the sale of mass-produced mannerist Expressionist sculptures. It was further enhanced in the 1920s by a new branch that created ceiling and wall lamps in the Art Deco style, culminating in participation at the 1925 International Exposition of Modern Industrial and Decorative Arts in Paris. Important names in the evolution of alabaster use after World War II are Volterran Umberto Borgna, the "first alabaster designer", and later on the architect and industrial designer Angelo Mangiarotti.

England and Wales

Gypsum alabaster is a common mineral, which occurs in England in the Keuper marls of the Midlands, especially at Chellaston in Derbyshire, at Fauld in Staffordshire, and near Newark in Nottinghamshire. Deposits at all of these localities have been worked extensively.

In the 14th and 15th centuries the carving into small statues and sets of relief panels for altarpieces was a valuable local industry in Nottingham, as well as a major English export. These were usually painted, or partly painted. It was also used for the effigies, often life size, on tomb monuments, as the typical recumbent position suited the material's lack of strength, and it was cheaper and easier to work than good marble. After the English Reformation the making of altarpiece sets was discontinued, but funerary monument work in reliefs and statues continued.

In addition to the carvings still in Britain (particularly the Nottingham Castle Museum, British Museum, and Victoria and Albert Museum), trade in mineral alabaster (other than the antiques trade) is ongoing as far afield as the Musée de Cluny, Spain, and Scandinavia.

Alabaster is also found, in smaller quantity, at Watchet in Somerset, near Penarth in Glamorganshire, and elsewhere. In Cumbria it occurs largely in the New Red rocks, but at a lower geological horizon. The alabaster of Nottinghamshire and Derbyshire is found in thick nodular beds or "floors" in spheroidal masses known as "balls" or "bowls" and in smaller lenticular masses termed "cakes". At Chellaston, where the local alabaster is known as "Patrick", it has been worked into ornaments under the name of "Derbyshire spar"―a term more properly applied to fluorspar.

Black alabaster
Black alabaster is a rare anhydrite form of the gypsum-based mineral. The black form is found in only three veins in the world, one each in United States, Italy, and China.

Alabaster Caverns State Park, near Freedom, Oklahoma, is home to a natural gypsum cave in which much of the gypsum is in the form of alabaster. There are several types of alabaster found at the site, including pink, white, and the rare black alabaster.

Mineralogy

 * – mineral consisting of calcium carbonate (CaCO3); archaeologists and stone trade professionals, unlike mineralogists, call one variety of calcite "alabaster"
 * – mineral composed of calcium sulfate dihydrate (CaSO4*2H2O); alabaster is one of its varieties
 * – a mineral closely related to gypsum
 * – the main inorganic compound (CaSO4) of gypsum
 * – translucent sheets of marble or alabaster used during the Early Middle Ages for windows instead of glass

Window and roof panels
Chronological list of examples:
 * – 5th century, Ravenna
 * – 6th century, Ravenna
 * – mainly 13th–14th century, Valencia, Spain; the lantern of the octagonal crossing tower
 * – 14th-century, Orvieto, Umbria, central Italy
 * – 17th century, Rome; alabaster window by Bernini (1598–1680) used to create a "spotlight"
 * – 1924, Jerusalem, architect: Antonio Barluzzi. Windows fitted with dyed alabaster panels.
 * – 1924, Mount Tabor, architect: Antonio Barluzzi. Alabaster roofing was attempted.

title: Alabaster


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Ahab

Ahab (𒀀𒄩𒀊𒁍 Aḫâbbu; Achaáb; Achab) was the son and successor of King Omri and the husband of Jezebel of Sidon, according to the Hebrew Bible. He was widely criticized for causing "moral decline" in Israel, according to the Yahwists. But modern scholars argue that Ahab was a Yahwist and introduced his god to the Kingdom of Judah via imperialism. This mostly occurred in the latter half of his reign.

The existence of Ahab is historically supported outside the Bible. Shalmaneser III of Assyria documented in 853 BC that he defeated an alliance of a dozen kings in the Battle of Qarqar; one of these was Ahab. He is also mentioned on the inscriptions of the Mesha Stele.

Ahab became king of Israel in the thirty-eighth year of King Asa of Judah, and reigned for twenty-two years, according to 1 Kings. William F. Albright dated his reign to 869–850 BC, while Edwin R. Thiele offered the dates 874–853 BC. Most recently, Michael Coogan has dated Ahab's reign to 871–852 BC.

Reign
As Omri's successor, Ahab married Jezebel, the daughter of Ithobaal I of Tyre. Under Jezebel's influence, he abandoned Yahweh and established Baal and Asherah cults in Israel. For example, he allowed Hiel the Bethelite to rebuild Jericho, even though it was 'cursed' by Yahweh, and helped his wife kill opponents, such as the "servants of Yahweh" and possibly, the priests of Jeroboam's cult. Edward Lipiński argues that the "Baal" worshipped by Ahab and Jezebel was actually the "YHWH of Samaria", which was opposed as Yahwist heresy by the Judean priests. Others disagree based on archaeological evidence and extrabiblical sources about Jezebel's upbringing.

In terms of foreign policy, Ahab continued Omri's policies against Moab, which was a tributary state of Israel. According to the Moabite Mesha Stele, Omri and Ahab "oppressed Moab for many days". By marriage, he allied with Jehoshaphat, who was the king of Judah. Aram-Damascus was the only foreign state that Ahab opposed but he made peace with them after their king promised to withdraw from conquered territory. He also allowed Ahab to conquer Aramean territory to compensate.

Battle of Qarqar
The Battle of Qarqar is mentioned in extra-biblical records, and occurred at Apamea, where Shalmaneser III of Assyria fought a great confederation of princes from Cilicia, northern Syria, Israel, Ammon, and the tribes of the Syrian desert (853 BCE), including Arabs, Ahab the Israelite (A-ha-ab-bu matSir-'a-la-a-a) and Hadadezer (Adad-'idri).

Ahab's contribution was estimated at 2000 chariots and 10,000 men. In reality, however, the number of chariots in Ahab's forces was probably closer to a number in the hundreds (based upon archaeological excavations of the area and the foundations of stables that have been found). If, however, the numbers are referring to allies, they could include forces from Tyre, Judah, Edom, and Moab. The Assyrian king claimed victory, but his immediate return and subsequent expeditions in 849 BC and 846 BC against a similar but unspecified coalition implied that the victory had no lasting impact.

Jezreel was identified as Ahab's fortified chariot and cavalry base.

Ahab and the prophets
In the Biblical text, Ahab has four important encounters with prophets:
 * 1) The first encounter is with Elijah, who predicts a drought because of Ahab's sins. Because of this, Ahab blames Elijah for Israel's misfortunes but Elijah proclaims the supremacy of Yahweh so that Ahab could repent.
 * 2) The second encounter is between Ahab and an unnamed prophet, who criticized him for sparing Ben-hadad and told him that Israel would be invaded by the Arameans as punishment.
 * 3) The third is with Elijah, who criticized his role in Naboth's unjust execution. Ahab sincerely repents, which Yahweh relays to Elijah.
 * 4) The fifth encounter is with Micaiah, who sarcastically assures that Ahab would re-capture Ramoth-Gilead before revealing that Ahab was deceived by his court advisers, who were empowered by evil spirits. Instead of victory, he would die in battle.

Death of Ahab

After some years, Ahab is mortally wounded by an unaimed arrow after he and Jehoshaphat tried to re-capture Ramoth-Gilead from the Arameans. Depending on translation, Ahab's corpse was licked by dogs or a combination of dogs and pigs, according to Elijah's prophecy. It marked his "uncleanliness" in the presence of Israelites, who abstained from pork consumption.

Legacy
Ahab's reign was deeply unpopular among Yahwists and was considered to be worse than the previous kings of Israel. Whilst the previous kings followed a "heretical" interpretation of Yahwism, known as the "sins of Jeroboam", Ahab institutionalized Baalism, which was completely divorced from Yahwism. He was likewise criticized for his oppressive policies, both domestically and internationally.

However, Yahwists commend him for fortifying numerous Israelite cities and building an ivory palace. Christian Frevel argues that Ahab used imperialism to introduce Yahweh to the Kingdom of Judah. To do this, he gave his children theophoric names whilst expanding in northern territories and Judah. Michael J. Stahl clarifies that this mostly occurred in the latter half of his reign, according to biblical and extrabiblical evidence.

In Rabbinic literature
Ahab was one of the three or four wicked kings of Israel singled out by tradition as being excluded from the future world of bliss (Sanh. x. 2; Tosef., Sanh. xii. 11). Midrash Konen places him in the fifth department of Gehenna, as having the heathen under his charge. Though held up as a warning to sinners, Ahab is also described as displaying noble traits of character (Sanh. 102b; Yer. Sanh. xi. 29b). Talmudic literature represents him as an enthusiastic idolater who left no hilltop in the Land of Israel without an idol before which he bowed, and to which he or his wife, Jezebel, brought his weight in gold as a daily offering. So defiant in his apostasy was he that he had inscribed on all the doors of the city of Samaria the words, "Ahab hath abjured the living God of Israel." Nevertheless, he paid great respect to the representatives of learning, "to the Torah given in twenty-two letters," for which reason he was permitted to reign for twenty-two successive years. He generously supported the students of the Law out of his royal treasury, in consequence of which half his sins were forgiven him. A type of worldliness (Ber. 61b), the Crœsus of his time, he was, according to ancient tradition (Meg. 11a), ruler over the whole world. Two hundred and thirty subject kings had initiated a rebellion; but he brought their sons as hostages to Samaria and Jerusalem. All the latter turned from idolaters into worshipers of the God of Israel (Tanna debe Eliyahu, i. 9). Each of his seventy sons had an ivory palace built for him. Since, however, it was Ahab's idolatrous wife who was the chief instigator of his crimes (B. M. 59a), some of the ancient teachers gave him the same position in the world to come as a sinner who had repented (Sanh. 104b, Num. R. xiv). Like Manasseh, he was made a type of repentance (I Kings, xxi. 29). Accordingly, he is described as undergoing fasts and penances for a long time; praying thrice a day to God for forgiveness, until his prayer was heard (PirḲe R. El. xliii). Hence, the name of Ahab in the list of wicked kings was changed to Ahaz (Yer. Sanh. x. 28b; Tanna debe Eliyahu Rabba ix, Zuṭṭa xxiv.).

Pseudo-Epiphanius ("Opera," ii. 245) makes Micah an Ephraimite. Confounding him with Micaiah, son of Imlah, he states that Micah, for his inauspicious prophecy, was killed by order of Ahab through being thrown from a precipice, and was buried at Morathi (Maroth?; Mic. i. 12), near the cemetery of Enakim (Ένακεὶμ Septuagint rendering of ; ib. i. 10). According to "Gelilot Ereẓ Yisrael" (quoted in "Seder ha-Dorot," i. 118, Warsaw, 1889), Micah was buried in Chesil, a town in southern Judah (Josh. xv. 30). Naboth's soul was the lying spirit that was permitted to deceive Ahab to his death.

In popular culture
Ahab is portrayed by Eduard Franz in the film Sins of Jezebel (1953). He is also the namesake of Captain Ahab in Moby Dick by Herman Melville.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Ahab


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Talk:Alan Turing

A very questionable source for a significant claim
The "Career and research" section includes this:

"However, official war historian Harry Hinsley estimated that this work shortened the war in Europe by more than two years and saved over 14 million lives."

The source cited for this is a post on CIX, a precursor to the modern internet forums, that claims to be a transcript of a seminar from 1993 by Sir Harry Hinsley, who aside from being a historian also worked at Bletchley Park. The post appears to have been made in 1996 and cites no sources, it's not official and isn't published by either Hinsley or the university where he held the talk.

This all strikes me as some incredibly strange sourcing and I'm not sure this sentence should be included in the article at all. I believe this source fails WP:RS, which states that web forums are rarely regarded as reliable. In this case there is no way to confirm the authenticity of this post or trace the authors.

The claim itself is extremely questionable, and in the post Hinsley is quoted as later admitting that Germany would probably have been nuked in 1945. But that's not even really relevant since there's no way to verify that this post even is a real transcript. A random Web 1.0 forum post really doesn't feel like a source that holds up to Wikipedia standards.

Also the "saved over 14 million lives" part is not mentioned in the post at all.

Looking at the edit history, it seems the actual source from this claim was a newspaper article by Jack Copeland but it was changed on July 3rd 2021 with the reasoning of "Corrected attribution of reduction of war's length" but without actually changing the claims to match what the new source says. Erika1897 (talk) 13:32, 1 November 2023 (UTC)

Image of Turing aged 5
Is this image in the public domain? The caption there reads: "Alan Turing, aged 5, Photo [AMT/K/7/2]. Thanks Martinevans123 (talk) 18:04, 7 December 2023 (UTC)

Poor use of quote
"He accepted the option of injections of what was then called stilboestrol (now known as diethylstilbestrol or DES), a synthetic oestrogen; this feminization of his body was continued for the course of one year. The treatment rendered Turing impotent and caused breast tissue to form, fulfilling in the literal sense Turing's prediction that "no doubt I shall emerge from it all a different man, but quite who I've not found out". Murray was given a conditional discharge."

I think the emboldened quote takes away from the article. It feels too casual and ironic, which I'm not a fan of. This excerpt from Turing's letter would work better if it was used at the beginning of the section discussing Turing's chemical castration, as it depicts his reaction. In that instance, it would be far more relevant. I would also accept this if Andrew Hodges, the author of one of the citations added to this quote, said something to this effect in his book on Turing (though I would still recommend phrasing it differently to show that this is Hodges' own analysis). This isn't the case however, as Hodges shows no signs of interpreting the quote this way. Instead saying:

"The allusion to the traditional syllogism about Socrates, who drank the hemlock, is an extraordinary piece of black humour. (It also stands as a superb example of how Turing himself fused the elements of his life.) The opening of the letter is perhaps equally remarkable in its absurdly off-hand description of six years of crucial wartime work, and in its inexplicable statement that the work had not involved any travelling."

In my opinion, the editor that wrote this part of the article underhandedly inserted their own analysis of the quote, intentionally or not. This is something that I think violates Wikipedia's neutral point of view and general guidelines on quotes.

I apologize if I seem pompous and headstrong, but this part of the article rubbed me the wrong way. I think this quote should probably be included somewhere in the article, as it provides keen insight on Turing's immediate thoughts on his chemical castration, but it should be incorporated better. Pac-Man PHD (talk) 08:38, 31 January 2024 (UTC)

 * I've removed the offending language. I agree that we shouldn't express editorial opinions about prophetic fulfillment without a source that says just that. I trust that resolves the issue. Skyerise (talk) 11:27, 8 February 2024 (UTC)

Semi-protected edit request on 16 February 2024
Please add the category Category:20th-century English LGBT people 170.76.231.175 (talk) 15:18, 16 February 2024 (UTC)
 * ✅ Thanks. Martinevans123 (talk) 15:41, 16 February 2024 (UTC)

Semi-protected edit request on 2 May 2024
In the introduction, it is stated that "the evidence is also consistent with accidental poisoning", but there is no citation for that. The BBC article listed as the citation for that paragraph only mentions suicide. It should either be removed, or at least have a citation needed tag. Silversquirl (talk) 00:48, 2 May 2024 (UTC)
 * ✅ The introduction is a summary of the rest of the article which, per MOS:LEADCITE, does not require inline citations unless the claim is likely to be challenged. Since this claim has now been challenged I added a citation from the death section which verifies it. Jamedeus (talk) 02:38, 2 May 2024 (UTC)

title: Talk:Alan Turing


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ASIC (disambiguation)

In the realm of electronic technology, ASIC stands for application-specific integrated circuit, an integrated circuit customized for a specific task.

ASIC may also refer to:
 * Accreditation Service for International Colleges, an educational accreditation agency in the UK
 * Acid-sensing ion channels, a protein family
 * Air and Space Interoperability Council, former name of the Air Force Interoperability Council
 * Arfoire Syndicate of International Crime, the antagonist group in the video game Hyperdimension Neptunia mk2
 * ASIC programming language, a dialect of BASIC
 * Associated Signature Containers (ASiC), specifies the use of container structures to bind together one or more signed objects with either advanced electronic signatures or time-stamp tokens into one single digital container
 * Association Scientifique Internationale pour le Café, a scientific organization based in France
 * Australian Securities & Investments Commission, Australia's corporate regulator
 * Aviation Security Identification Card, an Australian identification card

title: ASIC (disambiguation)


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Dasyproctidae

Dasyproctidae is a family of large South American rodents, comprising the agoutis and acouchis. Their fur is a reddish or dark colour above, with a paler underside. They are herbivorous, often feeding on ripe fruit that falls from trees. They live in burrows, and, like squirrels, will bury some of their food for later use.

Dasyproctids exist in Central and South America, which are the tropical parts of the New World. The fossil record of this family can be traced back to the Late Oligocene (Deseadan in the SALMA classification).

As with all rodents, members of this family have incisors, pre-molars, and molars, but no canines. The cheek teeth are hypsodont and flat-crowned.

Classification
Fossil taxa follow McKenna and Bell, with modifications following Kramarz.

 * Family Dasyproctidae
 * Genus †Alloiomys
 * Genus †Australoprocta
 * Genus †Branisamys
 * Genus †Incamys
 * Genus †Neoreomys
 * Genus †Megastus
 * Genus †Palmiramys
 * Genus Dasyprocta
 * Azara's agouti, D. azarae
 * Coiban agouti, D. coibae
 * Crested agouti, D. cristata
 * Black agouti, D. fuliginosa
 * Orinoco agouti, D. guamara
 * Kalinowski's agouti, D. kalinowskii
 * Red-rumped agouti, D. leporina
 * Mexican agouti, D. mexicana
 * Black-rumped agouti, D. prymnolopha
 * Central American agouti, D. punctata
 * Ruatan Island agouti, D. ruatanica
 * Genus Myoprocta
 * Green acouchi, M. pratti
 * Red acouchi, M. acouchy

The pacas (genus Cuniculus) are placed by some authorities in Dasyproctidae, but molecular studies have demonstrated they do not form a monophyletic group.

title: Dasyproctidae


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Algol

Algol, designated Beta Persei (β Persei, abbreviated Beta Per, β Per), known colloquially as the Demon Star, is a bright multiple star in the constellation of Perseus and one of the first non-nova variable stars to be discovered.

Algol is a three-star system, consisting of Beta Persei Aa1, Aa2, and Ab – in which the hot luminous primary β Persei Aa1 and the larger, but cooler and fainter, β Persei Aa2 regularly pass in front of each other, causing eclipses. Thus Algol's magnitude is usually near-constant at 2.1, but regularly dips to 3.4 every 2.86 days during the roughly 10-hour-long partial eclipses. The secondary eclipse when the brighter primary star occults the fainter secondary is very shallow and can only be detected photoelectrically.

Algol gives its name to its class of eclipsing variable, known as Algol variables.

Observation history

An ancient Egyptian calendar of lucky and unlucky days composed some 3,200 years ago is said to be the oldest historical documentation of the discovery of Algol.

The association of Algol with a demon-like creature (Gorgon in the Greek tradition, ghoul in the Arabic tradition) suggests that its variability was known long before the 17th century, but there is still no indisputable evidence for this. The Arabic astronomer al-Sufi said nothing about any variability of the star in his Book of Fixed Stars published c.964.

The variability of Algol was noted in 1667 by Italian astronomer Geminiano Montanari, but the periodic nature of its variations in brightness was not recognized until more than a century later, when the British amateur astronomer John Goodricke also proposed a mechanism for the star's variability. In May 1783, he presented his findings to the Royal Society, suggesting that the periodic variability was caused by a dark body passing in front of the star (or else that the star itself has a darker region that is periodically turned toward the Earth). For his report he was awarded the Copley Medal.

In 1881, the Harvard astronomer Edward Charles Pickering presented evidence that Algol was actually an eclipsing binary. This was confirmed a few years later, in 1889, when the Potsdam astronomer Hermann Carl Vogel found periodic doppler shifts in the spectrum of Algol, inferring variations in the radial velocity of this binary system. Thus, Algol became one of the first known spectroscopic binaries. Joel Stebbins at the University of Illinois Observatory used an early selenium cell photometer to produce the first-ever photoelectric study of a variable star. The light curve revealed the second minimum and the reflection effect between the two stars. Some difficulties in explaining the observed spectroscopic features led to the conjecture that a third star may be present in the system; four decades later this conjecture was found to be correct.

System
Algol is a multiple-star system with three confirmed and two suspected stellar components. From the point of view of the Earth, Algol Aa1 and Algol Aa2 form an eclipsing binary because their orbital plane contains the line of sight to the Earth. The eclipsing binary pair is separated by only 0.062 astronomical units (au) from each other, whereas the third star in the system (Algol Ab) is at an average distance of 2.69 au from the pair, and the mutual orbital period of the trio is 681 Earth days. The total mass of the system is about 5.8 solar masses, and the mass ratios of Aa1, Aa2, and Ab are about 4.5 to 1 to 2.

The three components of the bright triple star used to be, and still sometimes are, referred to as β Per A, B, and C. The Washington Double Star Catalog lists them as Aa1, Aa2, and Ab, with two very faint stars B and C about one arcmin distant. A further five faint stars are also listed as companions.

The close pair consists of a B8 main sequence star and a much less massive K0 subgiant, which is highly distorted by the more massive star. These two orbit every 2.9 days and undergo the eclipses that cause Algol to vary in brightness. The third star orbits these two every 680 days and is an A or F-type main sequence star. It has been classified as an Am star, but this is now considered doubtful.

Studies of Algol led to the Algol paradox in the theory of stellar evolution: although components of a binary star form at the same time, and massive stars evolve much faster than the less massive stars, the more massive component Algol Aa1 is still in the main sequence, but the less massive Algol Aa2 is a subgiant star at a later evolutionary stage. The paradox can be solved by mass transfer: when the more massive star became a subgiant, it filled its Roche lobe, and most of the mass was transferred to the other star, which is still in the main sequence. In some binaries similar to Algol, a gas flow can be seen. The gas flow between the primary and secondary stars in Algol has been imaged using Doppler Tomography.

This system also exhibits x-ray and radio wave flares. The x-ray flares are thought to be caused by the magnetic fields of the A and B components interacting with the mass transfer. The radio-wave flares might be created by magnetic cycles similar to those of sunspots, but because the magnetic fields of these stars are up to ten times stronger than the field of the Sun, these radio flares are more powerful and more persistent. The secondary component was identified as the radio emitting source in Algol using Very-long-baseline interferometry by Lestrade and co-authors.

Magnetic activity cycles in the chromospherically active secondary component induce changes in its radius of gyration that have been linked to recurrent orbital period variations on the order of $0.7$ ≈ $3.48$ via the Applegate mechanism. Mass transfer between the components is small in the Algol system but could be a significant source of period change in other Algol-type binaries.

The distance to Algol has been measured using very-long baseline interferometry, giving a value of 94 light-years. About about 7.3 million years ago it passed within 9.8 light-years of the Solar System and its apparent magnitude was about −2.5, which is considerably brighter than the star Sirius is today. Because the total mass of the Algol system is about 5.8 solar masses, at the closest approach this might have given enough gravity to perturb the Oort cloud of the Solar System somewhat and hence increase the number of comets entering the inner Solar System. However, the actual increase in net cometary collisions is thought to have been quite small.

Names

Beta Persei is the star's Bayer designation.

The official name Algol
The name Algol derives from Arabic رأس الغول raʾs al-ghūl : head (raʾs) of the ogre (al-ghūl) (see "ghoul"). The English name Demon Star was taken from the Arabic name. In 2016, the International Astronomical Union organized a Working Group on Star Names (WGSN) to catalog and standardize proper names for stars. The WGSN's first bulletin of July 2016 included a table of the first two batches of names approved by the WGSN; which included Algol for this star. It is so entered on the IAU Catalog of Star Names.

Ghost and demon star
Algol was called Rōsh ha Sāṭān or "Satan's Head" in Hebrew folklore, as stated by Edmund Chilmead, who called it "Divels head" or Rosch hassatan. A Latin name for Algol from the 16th century was Caput Larvae or "the Spectre's Head". Hipparchus and Pliny made this a separate, though connected, constellation.

First star of Medusa's head
Earlier the name of the constellation Perseus was Perseus and Medusa's Head where an asterism representing the head of Medusa after Perseus has cut it off already known in ancient Rome. Medusa is a gorgon so the star is also called Gorgonea Prima meaning the first star of the gorgon.

Chinese names
In Chinese, 大陵 (Dà Líng), meaning Mausoleum, refers to an asterism consisting of β Persei, 9 Persei, τ Persei, ι Persei, κ Persei, ρ Persei, 16 Persei and 12 Persei. Consequently, the Chinese name for β Persei itself is 大陵五 (Dà Líng wu, English: The Fifth Star of Mausoleum.). According to R.H. Allen the star bore the grim name of Tseih She 積屍 (Zhi Shī), meaning "Piled up Corpses" but this appears to be a misidentification, and Dié Shī is correctly π Persei, which is inside the Mausoleum.

Cultural significance
Historically, the star has received a strong association with bloody violence across a wide variety of cultures. In the Tetrabiblos, the 2nd-century astrological text of the Alexandrian astronomer Ptolemy, Algol is referred to as "the Gorgon of Perseus" and associated with death by decapitation: a theme which mirrors the myth of the hero Perseus's victory over the snake-haired Gorgon Medusa. In the astrology of fixed stars, Algol is considered one of the unluckiest stars in the sky, and was listed as one of the 15 Behenian stars.

title: Algol


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Amazing Grace

"Amazing Grace" is a Christian hymn published in 1779, written in 1772 by English Anglican clergyman and poet John Newton (1725–1807). It is an immensely popular hymn, particularly in the United States, where it is used for both religious and secular purposes.

Newton wrote the words from personal experience; he grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by others' reactions to what they took as his recalcitrant insubordination. He was pressed into service with the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coast of County Donegal, Ireland, so severely that he called out to God for mercy. While this moment marked his spiritual conversion, he continued slave trading until 1754 or 1755, when he ended his seafaring altogether. Newton began studying Christian theology and later became an abolitionist.

Ordained in the Church of England in 1764, Newton became the curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It is unknown if there was any music accompanying the verses; it may have been chanted by the congregation. It debuted in print in 1779 in Newton's and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States, "Amazing Grace" became a popular song used by Baptist and Methodist preachers as part of their evangelizing, especially in the American South, during the Second Great Awakening of the early 19th century. It has been associated with more than 20 melodies. In 1835, American composer William Walker set it to the tune known as "New Britain" in a shape note format; this is the version most frequently sung today.

With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, "Amazing Grace" is one of the most recognisable songs in the English-speaking world. American historian Gilbert Chase writes that it is "without a doubt the most famous of all the folk hymns" and Jonathan Aitken, a Newton biographer, estimates that the song is performed about 10 million times annually.

It has had particular influence in folk music, and has become an emblematic black spiritual. Its universal message has been a significant factor in its crossover into secular music. "Amazing Grace" became newly popular during the 1960s revival of American folk music, and it has been recorded thousands of times during and since the 20th century.

John Newton's conversion
According to the Dictionary of American Hymnology, "Amazing Grace" is John Newton's spiritual autobiography in verse.

In 1725, Newton was born in Wapping, a district in London near the Thames. His father was a shipping merchant who was brought up as a Catholic but had Protestant sympathies, and his mother was a devout Independent, unaffiliated with the Anglican Church. She had intended Newton to become a clergyman, but she died of tuberculosis when he was six years old. For the next few years, while his father was at sea Newton was raised by his emotionally distant stepmother. He was also sent to boarding school, where he was mistreated. At the age of eleven, he joined his father on a ship as an apprentice; his seagoing career would be marked by headstrong disobedience.

As a youth, Newton began a pattern of coming very close to death, examining his relationship with God, then relapsing into bad habits. As a sailor, he denounced his faith after being influenced by a shipmate who discussed with him Characteristicks of Men, Manners, Opinions, Times, a book by the Third Earl of Shaftesbury. In a series of letters Newton later wrote, "Like an unwary sailor who quits his port just before a rising storm, I renounced the hopes and comforts of the Gospel at the very time when every other comfort was about to fail me." His disobedience caused him to be pressed into the Royal Navy, and he took advantage of opportunities to overstay his leave.

He deserted the navy to visit Mary "Polly" Catlett, a family friend with whom he had fallen in love. After enduring humiliation for deserting, he was traded as crew to a slave ship.

He began a career in slave trading.

Newton often openly mocked the captain by creating obscene poems and songs about him, which became so popular that the crew began to join in. His disagreements with several colleagues resulted in his being starved almost to death, imprisoned while at sea, and chained like the slaves they carried. He was himself enslaved by the Sherbro and forced to work on a plantation in Sierra Leone near the Sherbro River. After several months he came to think of Sierra Leone as his home, but his father intervened after Newton sent him a letter describing his circumstances, and crew from another ship happened to find him. Newton claimed the only reason he left Sierra Leone was because of Polly.

While aboard the ship Greyhound, Newton gained notoriety as being one of the most profane men the captain had ever met. In a culture where sailors habitually swore, Newton was admonished several times for not only using the worst words the captain had ever heard, but creating new ones to exceed the limits of verbal debauchery. In March 1748, while the Greyhound was in the North Atlantic, a violent storm came upon the ship that was so rough it swept overboard a crew member who was standing where Newton had been moments before. After hours of the crew emptying water from the ship and expecting to be capsized, Newton and another mate tied themselves to the ship's pump to keep from being washed overboard, working for several hours. After proposing the measure to the captain, Newton had turned and said, "If this will not do, then Lord have mercy upon us!" Newton rested briefly before returning to the deck to steer for the next eleven hours. During his time at the wheel, he pondered his divine challenge.

About two weeks later, the battered ship and starving crew landed in Lough Swilly, Ireland. For several weeks before the storm, Newton had been reading The Christian's Pattern, a summary of the 15th-century The Imitation of Christ by Thomas à Kempis. The memory of his own "Lord have mercy upon us!" uttered during a moment of desperation in the storm did not leave him; he began to ask if he was worthy of God's mercy or in any way redeemable. Not only had he neglected his faith but directly opposed it, mocking others who showed theirs, deriding and denouncing God as a myth. He came to believe that God had sent him a profound message and had begun to work through him.

Newton's conversion was not immediate, but he contacted Polly's family and announced his intention to marry her. Her parents were hesitant as he was known to be unreliable and impetuous. They knew he was profane too but allowed him to write to Polly, and he set to begin to submit to authority for her sake. He sought a place on a slave ship bound for Africa, and Newton and his crewmates participated in most of the same activities he had written about before; the only immorality from which he was able to free himself was profanity. After a severe illness his resolve was renewed, yet he retained the same attitude towards slavery as was held by his contemporaries. Newton continued in the slave trade through several voyages where he sailed the coasts of Africa, now as a captain, and procured slaves being offered for sale in larger ports, transporting them to North America.

In between voyages, he married Polly in 1750, and he found it more difficult to leave her at the beginning of each trip. After three shipping voyages in the slave trade, Newton was promised a position as ship's captain with cargo unrelated to slavery. But at the age of thirty, he collapsed and never sailed again.

Olney curate

Working as a customs agent in Liverpool starting in 1756, Newton began to teach himself Latin, Greek, and theology. He and Polly immersed themselves in the church community, and Newton's passion was so impressive that his friends suggested he become a priest in the Church of England. He was turned down by John Gilbert, Archbishop of York, in 1758, ostensibly for having no university degree, although the more likely reasons were his leanings toward evangelism and tendency to socialise with Methodists. Newton continued his devotions, and after being encouraged by a friend, he wrote about his experiences in the slave trade and his conversion. William Legge, 2nd Earl of Dartmouth, impressed with his story, sponsored Newton for ordination by John Green, Bishop of Lincoln, and offered him the curacy of Olney, Buckinghamshire, in 1764.

Olney Hymns
Olney was a village of about 2,500 residents whose main industry was making lace by hand. The people were mostly illiterate and many of them were poor. Newton's preaching was unique in that he shared many of his own experiences from the pulpit; many clergy preached from a distance, not admitting any intimacy with temptation or sin. He was involved in his parishioners' lives and was much loved, although his writing and delivery were sometimes unpolished. But his devotion and conviction were apparent and forceful, and he often said his mission was to "break a hard heart and to heal a broken heart". He struck a friendship with William Cowper, a gifted writer who had failed at a career in law and suffered bouts of insanity, attempting suicide several times. Cowper enjoyed Olney – and Newton's company; he was also new to Olney and had gone through a spiritual conversion similar to Newton's. Together, their effect on the local congregation was impressive. In 1768, they found it necessary to start a weekly prayer meeting to meet the needs of an increasing number of parishioners. They also began writing lessons for children.

Partly from Cowper's literary influence, and partly because learned vicars were expected to write verses, Newton began to try his hand at hymns, which had become popular through the language, made plain for common people to understand. Several prolific hymn writers were at their most productive in the 18th century, including Isaac Watts – whose hymns Newton had grown up hearing  –  and Charles Wesley, with whom Newton was familiar. Wesley's brother John, the eventual founder of the Methodist Church, had encouraged Newton to go into the clergy. Watts was a pioneer in English hymn writing, basing his work after the Psalms. The most prevalent hymns by Watts and others were written in the common meter in 8.6.8.6: the first line is eight syllables and the second is six.

Newton and Cowper attempted to present a poem or hymn for each prayer meeting. The lyrics to "Amazing Grace" were written in late 1772 and probably used in a prayer meeting for the first time on 1 January 1773. A collection of the poems Newton and Cowper had written for use in services at Olney was bound and published anonymously in 1779 under the title Olney Hymns. Newton contributed 280 of the 348 texts in Olney Hymns; "1 Chronicles 17:16–17, Faith's Review and Expectation" was the title of the poem with the first line "Amazing grace! (how sweet the sound)".

Critical analysis
The general impact of Olney Hymns was immediate and it became a widely popular tool for evangelicals in Britain for many years. Scholars appreciated Cowper's poetry somewhat more than Newton's plaintive and plain language, expressing his forceful personality. The most prevalent themes in the verses written by Newton in Olney Hymns are faith in salvation, wonder at God's grace, his love for Jesus, and his cheerful exclamations of the joy he found in his faith. As a reflection of Newton's connection to his parishioners, he wrote many of the hymns in first person, admitting his own experience with sin. Bruce Hindmarsh in Sing Them Over Again To Me: Hymns and Hymnbooks in America considers "Amazing Grace" an excellent example of Newton's testimonial style afforded by the use of this perspective. Several of Newton's hymns were recognised as great work ("Amazing Grace" was not among them), while others seem to have been included to fill in when Cowper was unable to write. Jonathan Aitken calls Newton, specifically referring to "Amazing Grace", an "unashamedly middlebrow lyricist writing for a lowbrow congregation", noting that only twenty-one of the nearly 150 words used in all six verses have more than one syllable.

William Phipps in the Anglican Theological Review and author James Basker have interpreted the first stanza of "Amazing Grace" as evidence of Newton's realisation that his participation in the slave trade was his wretchedness, perhaps representing a wider common understanding of Newton's motivations. Newton joined forces with William Wilberforce, the British Member of Parliament who led the Parliamentarian campaign to abolish the slave trade in the British Empire, culminating in the Slave Trade Act 1807. But Newton did not become an ardent and outspoken abolitionist until after he left Olney in the 1780s; he is not known to have connected writing the hymn known as "Amazing Grace" to anti-slavery sentiments.

The lyrics in Olney Hymns were arranged by their association to the Biblical verses that would be used by Newton and Cowper in their prayer meetings, and did not address any political objective. For Newton, the beginning of the year was a time to reflect on one's spiritual progress. At the same time he completed a diary – which has since been lost –  that he had begun 17 years before, two years after he quit sailing. The last entry of 1772 was a recounting of how much he had changed since then.

The title ascribed to the hymn, "1 Chronicles 17:16–17", refers to David's reaction to the prophet Nathan telling him that God intends to maintain his family line forever. Some Christians interpret this as a prediction that Jesus Christ, as a descendant of David, was promised by God as the salvation for all people. Newton's sermon on that January day in 1773 focused on the necessity to express one's gratitude for God's guidance, that God is involved in the daily lives of Christians though they may not be aware of it, and that patience for deliverance from the daily trials of life is warranted when the glories of eternity await. Newton saw himself a sinner like David who had been chosen, perhaps undeservedly, and was humbled by it. According to Newton, unconverted sinners were "blinded by the god of this world" until "mercy came to us not only undeserved but undesired ... our hearts endeavored to shut him out till he overcame us by the power of his grace."

The New Testament served as the basis for many of the lyrics of "Amazing Grace". The first verse, for example, can be traced to the story of the Prodigal Son. In the Gospel of Luke the father says, "For this son of mine was dead and is alive again; he was lost, and is found". The story of Jesus healing a blind man who tells the Pharisees that he can now see is told in the Gospel of John. Newton used the words "I was blind but now I see" and declared "Oh to grace how great a debtor!" in his letters and diary entries as early as 1752. The effect of the lyrical arrangement, according to Bruce Hindmarsh, allows an instant release of energy in the exclamation "Amazing grace!", to be followed by a qualifying reply in "how sweet the sound". In An Annotated Anthology of Hymns, Newton's use of an exclamation at the beginning of his verse is called "crude but effective" in an overall composition that "suggest(s) a forceful, if simple, statement of faith". Grace is recalled three times in the following verse, culminating in Newton's most personal story of his conversion, underscoring the use of his personal testimony with his parishioners.

The sermon preached by Newton was his last of those that William Cowper heard in Olney, since Cowper's mental instability returned shortly thereafter. One author suggests Newton may have had his friend in mind, employing the themes of assurance and deliverance from despair for Cowper's benefit.

Dissemination

More than 60 of Newton and Cowper's hymns were republished in other British hymnals and magazines, but "Amazing Grace" was not, appearing only once in a 1780 hymnal sponsored by the Countess of Huntingdon. Scholar John Julian commented in his 1892 A Dictionary of Hymnology that outside of the United States, the song was unknown and it was "far from being a good example of Newton's finest work". Between 1789 and 1799, four variations of Newton's hymn were published in the US in Baptist, Dutch Reformed, and Congregationalist hymnodies; by 1830 Presbyterians and Methodists also included Newton's verses in their hymnals.

Although it had its roots in England, "Amazing Grace" became an integral part of the Christian tapestry in the United States. The greatest influences in the 19th century that propelled "Amazing Grace" to spread across the US and become a staple of religious services in many denominations and regions were the Second Great Awakening and the development of shape note singing communities. A tremendous religious movement swept the US in the early 19th century, marked by the growth and popularity of churches and religious revivals that got their start on the frontier in Kentucky and Tennessee. Unprecedented gatherings of thousands of people attended camp meetings where they came to experience salvation; preaching was fiery and focused on saving the sinner from temptation and backsliding. Religion was stripped of ornament and ceremony, and made as plain and simple as possible; sermons and songs often used repetition to get across to a rural population of poor and mostly uneducated people the necessity of turning away from sin. Witnessing and testifying became an integral component to these meetings, where a congregation member or stranger would rise and recount his turn from a sinful life to one of piety and peace. "Amazing Grace" was one of many hymns that punctuated fervent sermons, although the contemporary style used a refrain, borrowed from other hymns, that employed simplicity and repetition such as:

"Amazing grace! How sweet the sound That saved a wretch like me. I once was lost, but now am found, Was blind but now I see.

Shout, shout for glory, Shout, shout aloud for glory; Brother, sister, mourner, All shout glory hallelujah."

Simultaneously, an unrelated movement of communal singing was established throughout the South and Western states. A format of teaching music to illiterate people appeared in 1800. It used four syllables to distinguish the intervals of the major scale: fa-sol-la-fa-sol-la-mi-fa. Each syllable was associated with a specifically shaped note, and thus the use of books printed in this format became known as shape note singing. The method was simple to learn and teach, and schools were established throughout the South and West. Communities would come together for an entire day of singing in a large building where they sat in four distinct areas surrounding an open space, one member directing the entire gathering. Some groups sang outdoors, on benches set up in a square. Preachers used shape note music to teach hymns to people on the frontier and to raise the emotion of camp meetings. Most of the music was Christian, but the purpose of communal singing was not primarily spiritual. Communities either could not afford instruments for accompaniment, or rejected their use due to a Calvinistic sense of simplicity, so the songs were sung a cappella.

"New Britain" tune

When originally used in Olney, it is unknown what music, if any, accompanied the verses written by John Newton. Contemporary hymnbooks did not contain music and were simply small books of religious poetry. The first known instance of Newton's lines joined to music was in A Companion to the Countess of Huntingdon's Hymns (London, 1808), where it is set to the tune "Hephzibah" by English composer John Jenkins Husband. Common meter hymns were interchangeable with a variety of tunes; more than twenty musical settings of "Amazing Grace" circulated with varying popularity until 1835, when American composer William Walker assigned Newton's words to a traditional song named "New Britain". This was an amalgamation of two melodies ("Gallaher" and "St. Mary"), first published in the Columbian Harmony by Charles H. Spilman and Benjamin Shaw (Cincinnati, 1829). Spilman and Shaw, both students at Kentucky's Centre College, compiled their tunebook both for public worship and revivals, to satisfy "the wants of the Church in her triumphal march". Most of the tunes had been previously published, but "Gallaher" and "St. Mary" had not. As neither tune is attributed and both show elements of oral transmission, scholars can only speculate that they are possibly of British origin. A manuscript from 1828 by Lucius Chapin, a famous hymn writer of that time, contains a tune very close to "St. Mary", but that does not mean that he wrote it.

"Amazing Grace", with the words written by Newton and joined with "New Britain", the melody most currently associated with it, appeared for the first time in Walker's shape note tunebook Southern Harmony in 1847. It was, according to author Steve Turner, a "marriage made in heaven ... The music behind 'amazing' had a sense of awe to it. The music behind 'grace' sounded graceful. There was a rise at the point of confession, as though the author was stepping out into the open and making a bold declaration, but a corresponding fall when admitting his blindness." Walker's collection was enormously popular, selling about 600,000 copies all over the US when the total population was just over 20 million. Another shape note tunebook named The Sacred Harp (1844) by Georgia residents Benjamin Franklin White and Elisha J. King became widely influential and continues to be used.

Another verse was first recorded in Harriet Beecher Stowe's immensely influential 1852 anti-slavery novel Uncle Tom's Cabin. Three verses were emblematically sung by Tom in his hour of deepest crisis. He sings the sixth and fifth verses in that order, and Stowe included another verse, not written by Newton, that had been passed down orally in African-American communities for at least 50 years. It was one of between 50 and 70 verses of a song titled "Jerusalem, My Happy Home", which was first published in a 1790 book called A Collection of Sacred Ballads:

"When we've been there ten thousand years, Bright shining as the sun, We've no less days to sing God's praise, Than when we first begun."

"Amazing Grace" came to be an emblem of a Christian movement and a symbol of the US itself as the country was involved in a great political experiment, attempting to employ democracy as a means of government. Shape-note singing communities, with all the members sitting around an open center, each song employing a different song leader, illustrated this in practice. Simultaneously, the US began to expand westward into previously unexplored territory that was often wilderness. The "dangers, toils, and snares" of Newton's lyrics had both literal and figurative meanings for Americans. This became poignantly true during the most serious test of American cohesion in the U.S. Civil War (1861–1865). "Amazing Grace", set to "New Britain", was included in two hymnals distributed to soldiers. With death so real and imminent, religious services in the military became commonplace. The hymn was translated into other languages as well: while on the Trail of Tears, the Cherokee sang Christian hymns as a way of coping with the ongoing tragedy, and a version of the song by Samuel Worcester that had been translated into the Cherokee language became very popular.

Urban revival
Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. In the late 19th century, Newton's verses were sung to a tune named "Arlington" as frequently as to "New Britain" for a time.

Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the US and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the US were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the incipits (first line of the lyrics), or the name of the tune such as "New Britain". Publisher Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910. His version of "Amazing Grace" became the standard form of the song in American churches.

Recorded versions
With the advent of recorded music and radio, "Amazing Grace" began to cross over from primarily a gospel standard to secular audiences. The ability to record combined with the marketing of records to specific audiences allowed "Amazing Grace" to take on thousands of different forms in the 20th century. Where Edwin Othello Excell sought to make the singing of "Amazing Grace" uniform throughout thousands of churches, records allowed artists to improvise with the words and music specific to each audience. AllMusic lists over 1,000 recordings – including re-releases and compilations – as of 2019.

Its first recording is an a cappella version from 1922 by the Sacred Harp Choir. It was included from 1926 to 1930 in Okeh Records' catalogue, which typically concentrated strongly on blues and jazz. Demand was high for black gospel recordings of the song by H. R. Tomlin and J. M. Gates. A poignant sense of nostalgia accompanied the recordings of several gospel and blues singers in the 1940s and 1950s who used the song to remember their grandparents, traditions, and family roots. It was recorded with musical accompaniment for the first time in 1930 by Fiddlin' John Carson, although to another folk hymn named "At the Cross", not to "New Britain". "Amazing Grace" is emblematic of several kinds of folk music styles, often used as the standard example to illustrate such musical techniques as lining out and call and response, that have been practised in both black and white folk music.

Mahalia Jackson's 1947 version received significant radio airplay, and as her popularity grew throughout the 1950s and 1960s, she often sang it at public events such as concerts at Carnegie Hall. Author James Basker states that the song has been employed by African Americans as the "paradigmatic Negro spiritual" because it expresses the joy felt at being delivered from slavery and worldly miseries. Anthony Heilbut, author of The Gospel Sound, states that the "dangers, toils, and snares" of Newton's words are a "universal testimony" of the African American experience.

During the civil rights movement and opposition to the Vietnam War, the song took on a political tone. Mahalia Jackson employed "Amazing Grace" for Civil Rights marchers, writing that she used it "to give magical protection – a charm to ward off danger, an incantation to the angels of heaven to descend ... I was not sure the magic worked outside the church walls ... in the open air of Mississippi. But I wasn't taking any chances." Folk singer Judy Collins, who knew the song before she could remember learning it, witnessed Fannie Lou Hamer leading marchers in Mississippi in 1964, singing "Amazing Grace". Collins also considered it a talisman of sorts, and saw its equal emotional impact on the marchers, witnesses, and law enforcement who opposed the civil rights demonstrators. According to fellow folk singer Joan Baez, it was one of the most requested songs from her audiences, but she never realised its origin as a hymn; by the time she was singing it in the 1960s she said it had "developed a life of its own". It even made an appearance at the Woodstock Music Festival in 1969 during Arlo Guthrie's performance.

Collins decided to record it in the late 1960s amid an atmosphere of counterculture introspection; she was part of an encounter group that ended a contentious meeting by singing "Amazing Grace" as it was the only song to which all the members knew the words. Her producer was present and suggested she include a version of it on her 1970 album Whales & Nightingales. Collins, who had a history of alcohol abuse, claimed that the song was able to "pull her through" to recovery. It was recorded in St. Paul's, the chapel at Columbia University, chosen for the acoustics. She chose an a cappella arrangement that was close to Edwin Othello Excell's, accompanied by a chorus of amateur singers who were friends of hers. Collins connected it to the Vietnam War, to which she objected: "I didn't know what else to do about the war in Vietnam. I had marched, I had voted, I had gone to jail on political actions and worked for the candidates I believed in. The war was still raging. There was nothing left to do, I thought ... but sing 'Amazing Grace'." Gradually and unexpectedly, the song began to be played on the radio, and then be requested. It rose to number 15 on the Billboard Hot 100, remaining on the charts for 15 weeks, as if, she wrote, her fans had been "waiting to embrace it". In the UK, it charted 8 times between 1970 and 1972, peaking at number 5 and spending a total of 75 weeks on popular music charts. Her rendition also reached number 5 in New Zealand and number 12 in Ireland in 1971.

In 1972, the Royal Scots Dragoon Guards, the senior Scottish regiment of the British Army, recorded an instrumental version featuring a bagpipe soloist accompanied by a pipe band. The tempo of their arrangement was slowed to allow for the bagpipes, but it was based on Collins's: it began with a bagpipe solo introduction similar to her lone voice, then it was accompanied by the band of bagpipes and horns, whereas in her version she is backed up by a chorus. It became an international hit, spending five weeks at number-one in the UK Singles Chart, topping the RPM national singles chart in Canada for three weeks, and also peaking at number 11 on the Billboard Hot 100 in the US. It is also a controversial instrumental, as it combined pipes with a military band. The Pipe Major of the Royal Scots Dragoon Guards was summoned to Edinburgh Castle and chastised for demeaning the bagpipes.

Aretha Franklin and Rod Stewart also recorded "Amazing Grace" around the same time, and both of their renditions were popular. All four versions were marketed to distinct types of audiences, thereby assuring its place as a pop song. Johnny Cash recorded it on his 1975 album Sings Precious Memories, dedicating it to his older brother Jack, who had been killed in a mill accident when they were boys in Dyess, Arkansas. Cash and his family sang it to themselves while they worked in the cotton fields following Jack's death. Cash often included the song when he toured prisons, saying "For the three minutes that song is going on, everybody is free. It just frees the spirit and frees the person."

The U.S. Library of Congress has a collection of 3,000 versions of and songs inspired by "Amazing Grace", some of which were first-time recordings by folklorists Alan and John Lomax, a father and son team who in 1932 travelled thousands of miles across the southern states of the US to capture the different regional styles of the song. More contemporary renditions include samples from such popular artists as Sam Cooke and the Soul Stirrers (1963), the Byrds (1970), Elvis Presley (1971), Skeeter Davis (1972), Mighty Clouds of Joy (1972), Amazing Rhythm Aces (1975), Willie Nelson (1976) and the Lemonheads (1992).

In American popular culture
"Amazing Grace" is an icon in American culture that has been used for a variety of secular purposes and marketing campaigns. It is referenced in the 2006 film Amazing Grace, which highlights Newton's influence on the leading British abolitionist William Wilberforce, in the film biography of Newton, Newton's Grace, and the 2014 film Freedom which tells the story of Newton's composition of the hymn.

Since 1954, when an organ instrumental of "New Britain" became a best-seller, "Amazing Grace" has been associated with funerals and memorial services. The hymn has become a song that inspires hope in the wake of tragedy, becoming a sort of "spiritual national anthem" according to authors Mary Rourke and Emily Gwathmey. For example, President Barack Obama recited and later sang the hymn at the memorial service for Clementa Pinckney, who was one of the nine victims of the Charleston church shooting in 2015.

Modern interpretations
In recent years, the words of the hymn have been changed in some religious publications to downplay a sense of imposed self-loathing by its singers. The second line, "That saved a wretch like me!" has been rewritten as "That saved and strengthened me", "save a soul like me", or "that saved and set me free". Kathleen Norris in her book Amazing Grace: A Vocabulary of Faith characterises this transformation of the original words as "wretched English" making the line that replaces the original "laughably bland". Part of the reason for this change has been the altered interpretations of what wretchedness and grace means. Newton's Calvinistic view of redemption and divine grace formed his perspective that he considered himself a sinner so vile that he was unable to change his life or be redeemed without God's help. Yet his lyrical subtlety, in Steve Turner's opinion, leaves the hymn's meaning open to a variety of Christian and non-Christian interpretations. "Wretch" also represents a period in Newton's life when he saw himself outcast and miserable, as he was when he was enslaved in Sierra Leone; his own arrogance was matched by how far he had fallen in his life.

Due to its immense popularity and iconic nature, the meaning behind the words of "Amazing Grace" has become as individual as the singer or listener. Bruce Hindmarsh suggests that the secular popularity of "Amazing Grace" is due to the absence of any mention of God in the lyrics until the fourth verse (by Excell's version, the fourth verse begins "When we've been there ten thousand years"), and that the song represents the ability of humanity to transform itself instead of a transformation taking place at the hands of God. "Grace", however, had a clearer meaning to John Newton, as he used the word to represent God or the power of God.

The transformative power of the song was investigated by journalist Bill Moyers in a documentary released in 1990. Moyers was inspired to focus on the song's power after watching a performance at Lincoln Center, where the audience consisted of Christians and non-Christians, and he noticed that it had an equal impact on everybody in attendance, unifying them. James Basker also acknowledged this force when he explained why he chose "Amazing Grace" to represent a collection of anti-slavery poetry: "there is a transformative power that is applicable ... : the transformation of sin and sorrow into grace, of suffering into beauty, of alienation into empathy and connection, of the unspeakable into imaginative literature."

Moyers interviewed Collins, Cash, opera singer Jessye Norman, Appalachian folk musician Jean Ritchie and her family, white Sacred Harp singers in Georgia, black Sacred Harp singers in Alabama, and a prison choir at the Texas State Penitentiary at Huntsville. Collins, Cash, and Norman were unable to discern if the power of the song came from the music or the lyrics. Norman, who once notably sang it at the end of a large outdoor rock concert for Nelson Mandela's 70th birthday, stated, "I don't know whether it's the text – I don't know whether we're talking about the lyrics when we say that it touches so many people –  or whether it's that tune that everybody knows." A prisoner interviewed by Moyers explained his literal interpretation of the second verse: "'Twas grace that taught my heart to fear, and grace my fears relieved" by saying that the fear became immediately real to him when he realised he may never get his life in order, compounded by the loneliness and restriction in prison. Gospel singer Marion Williams summed up its effect: "That's a song that gets to everybody".

The Dictionary of American Hymnology claims it is included in more than a thousand published hymnals, and recommends its use for "occasions of worship when we need to confess with joy that we are saved by God's grace alone; as a hymn of response to forgiveness of sin or as an assurance of pardon; as a confession of faith or after the sermon".

title: Amazing Grace