text:
Indiana Jones and the Last Crusade

Indiana Jones and the Last Crusade is a 1989 American action adventure film directed by Steven Spielberg from a screenplay by Jeffrey Boam, based on a story by George Lucas and Menno Meyjes. It is the third installment in the Indiana Jones film series and the sequel to Raiders of the Lost Ark (1981). Harrison Ford returned in the title role, while his father is portrayed by Sean Connery. Other cast members featured include Alison Doody, Denholm Elliott, Julian Glover, River Phoenix, and John Rhys-Davies. In the film, set in 1938, Indiana searches for his father, a Holy Grail scholar, who has been kidnapped and held hostage by the Nazis while on a journey to find the Holy Grail.

After the criticism that Indiana Jones and the Temple of Doom (1984) had received, Spielberg chose to make a more lighthearted film for the next installment, as well as bringing back several elements from Raiders of the Lost Ark. During the five years between The Temple of Doom and The Last Crusade, he and executive producer Lucas reviewed several scripts before accepting Jeffrey Boam's. Filming locations included Spain, Italy, West Germany, Jordan, the United Kingdom, and the United States.

Indiana Jones and the Last Crusade was released in the United States on May 24, 1989, by Paramount Pictures. The film received positive reviews, especially for its humor, direction, musical score, story, emotional themes, and performances (particularly those of Ford and Connery), and was a financial success, earning over $474 million worldwide, making it the highest-grossing film of 1989. It also won the Academy Award for Best Sound Effects Editing and was nominated for Best Original Score and Best Sound at the 62nd Academy Awards. A sequel, Indiana Jones and the Kingdom of the Crystal Skull, followed in May 2008, while a fifth and final film, Indiana Jones and the Dial of Destiny, was released in June 2023.

Plot
In 1912, Boy Scout Indiana Jones lives with his father Henry Jones Sr. in Moab, Utah. One day, while undergoing a cave exploration, Indiana takes a crucifix owned by Coronado from a group of graverobbers led by a man named Garth, and after a brief horse chase, flees to his home. Garth, however, has the robbers retrieve the crucifix and gives him his fedora before leaving.

Twenty-six years later, Indiana successfully takes back the crucifix from the graverobbers' employer off the Portuguese coast. After returning to the United States, Indiana learns Henry has disappeared while searching for the Holy Grail. Walter Donovan, his father's financial backer, tasks Indiana with finding both Henry and the Grail. Indiana receives a package containing Henry's diary, which includes his research on the Grail, and travels to Venice alongside Marcus Brody to meet Henry's associate Elsa Schneider. Beneath the library where Henry was last seen, Indiana and Elsa discover a catacomb containing an inscribed shield which reveals that the path to the Grail begins in Alexandretta. The two are subsequently attacked by a mysterious group who reveal themselves to be the secret Order of the Cruciform Sword, dedicated to protecting the Grail. After saving the group's leader, Indiana learns that Henry is being held at a castle in Austria. Indiana entrusts Marcus with a map from the diary detailing a route to the Grail and sends him to Alexandretta to rendezvous with their old friend Sallah. Discovering their rooms have been ransacked, Indiana reveals the diary's existence to Elsa before they sleep together.

In Austria, Indiana and Elsa infiltrate the castle, discovering it to be under Nazi control. Indiana finds Henry and tries to escape, but surrenders after Elsa is held captive by the Nazis. She reveals herself to be a Nazi collaborator, and Indiana and Henry are tied up and learn that Donovan is also working with the Nazis. After arriving in Alexandretta, Marcus is captured by the Nazis as well. Elsa returns to Germany, while Indiana and Henry escape the castle before traveling to Berlin to retrieve the diary. After recovering it from Elsa, Indiana and Henry flee on a zeppelin before evading two Luftwaffe planes pursuing them.

Arriving in Hatay, Sallah reveals to Indiana and Henry that the Nazis have also traveled there using the map. While they are following the trail, the Nazis are attacked by the Order but defeat them. Henry takes advantage of the distraction to try and rescue Marcus but is captured; Indiana attacks the Nazi convoy in response and is eventually able to destroy it with help from Henry and Marcus. Indiana, Henry, Marcus and Sallah proceed to a temple containing the Grail, where they observe the Nazis attempting to overcome the temple's traps before being captured. Donovan forces Indiana to find safe passage for them by mortally wounding Henry; a drink from the Grail can heal him. With the help of the diary, Indiana overcomes the traps and finds a room with hundreds of cups and an ancient knight, who explains that only one cup is the true Grail. Donovan and Elsa enter the room, the former dying by drinking from the wrong cup, before Indiana identifies the true Grail and rescues Henry. Elsa falls to her death when her attempt to leave with the Grail causes the temple's collapse, and Indiana nearly suffers the same fate before Henry stops him. Indiana and his companions escape and ride off into the sunset.

Cast

 * Harrison Ford as Henry "Indiana" Jones, Jr.: An archaeologist, professor and adventurer who seeks to rescue his father and find the Holy Grail. Ford said he loved the idea of introducing Indiana's father because it allowed him to explore another side to Indiana's personality: "These are men who have never made any accommodation to each other. Indy behaves differently in his father's presence. Who else would dare call Indy 'junior'?"
 * River Phoenix as a younger Indiana Jones. Phoenix had portrayed the son of Ford's character in The Mosquito Coast (1986). Ford recommended Phoenix for the part; he said that of the young actors working at the time, Phoenix looked the most like him when he was around that age.
 * Sean Connery as Henry Jones, Sr.: Indiana's father, a professor of medieval literature who cared more about looking for the Grail than raising his son. Spielberg had Connery in mind when he suggested introducing Indiana's father, though he did not tell Lucas at first. Consequently, Lucas wrote the role as "a crazy, eccentric" professor resembling Laurence Olivier, whose relationship with Indiana is "strict schoolmaster and student rather than a father and son". Spielberg had been a fan of Connery's work as James Bond and felt that no one else could perform the role as well. Spielberg biographer Joseph McBride wrote, "Connery was already the father of Indiana Jones since the series had sprung from the desire of Lucas and Spielberg to rival (and outdo) Connery's James Bond films." Gregory Peck was also considered for the role. Connery, who had eschewed major franchise films since his work on the James Bond series, as he found those roles dull and wanted to avoid paparazzi attention, initially turned the role down (as he was only twelve years older than Ford) but eventually relented. Connery—a student of history—began to reshape the character, and revisions were made to the script to address his concerns. "I wanted to play Henry Jones as a kind of Richard Francis Burton," Connery commented. "I was bound to have fun with the role of a gruff, Victorian Scottish father." Connery believed Henry should be a match for his son, telling Spielberg that "whatever Indy'd done my character has done and my character has done it better". Connery signed to the film on March 25, 1988. He improvised the line, "She talks in her sleep", which was left in because it made everyone laugh; in Boam's scripts, Henry telling Indiana that he slept with Elsa occurs later.
 * Alex Hyde-White plays Henry in the film's prologue, though his face is never shown and his lines were dubbed by Connery.
 * Denholm Elliott as Marcus Brody: Indiana's bumbling English colleague. Elliott returned after Spielberg sought to recapture the tone of Raiders of the Lost Ark (1981), following the actor's absence in the darker Temple of Doom (1984).
 * Alison Doody as Dr. Elsa Schneider: An Austrian art professor and Indy's love interest, who is in league with the Nazis. She seduces the Joneses to trick them but seems to be in love with Indy. While the character of Elsa is in her 30s during the film, Doody was 21 when she auditioned and was one of the first actresses who met for the part. Amanda Redman was offered the role, but declined.
 * John Rhys-Davies as Sallah: A friend of Indiana and a professional excavator living in Cairo. Like Elliott's, Rhys-Davies's return was an attempt to recapture the spirit of Raiders of the Lost Ark.
 * Julian Glover as Walter Donovan: An American businessman who sends the Joneses on their quest for the Holy Grail out of a desire for immortality while secretly working with the Nazis for the same goal. Glover previously appeared as General Veers in Lucas's The Empire Strikes Back. He originally auditioned for the role of Vogel. Glover, who is English, adopted an American accent for the film, but was dissatisfied with the result.

Additionally, Michael Byrne portrays Ernst Vogel, a brutal SS colonel. Byrne and Ford had previously starred in Force 10 from Navarone (1978), in which they also respectively played a German and an American. Kevork Malikyan portrays Kazim, the leader of the Brotherhood of the Cruciform Sword, an organization that protects the Holy Grail. Malikyan had impressed Spielberg with his performance in Midnight Express (1978) and would have auditioned for the role of Sallah in Raiders of the Lost Ark had a traffic jam not delayed his meeting with the director. Robert Eddison appears as the Grail Knight, the guardian of the Grail who drank from the cup of Christ during the Crusades. Eddison was a stage and television veteran only appearing in a few films since the 1930s (including a supporting role in Peter Ustinov's 1948 comedy Vice Versa). Glover recalled Eddison was excited and nervous for his return to film, often asking if he had performed correctly. Laurence Olivier was originally considered to play the Grail Knight, but he was too ill and died the same year in which the film was released.

Michael Sheard appears as Adolf Hitler, whom Jones briefly encounters at the book-burning rally in Berlin. Although a non-speaking role, Sheard could speak German and had already portrayed Hitler three times during his career. He had also appeared as Admiral Ozzel in The Empire Strikes Back and as Oskar Schomburg in Raiders of the Lost Ark. In the same scene, Ronald Lacey, who played Toht in Raiders of the Lost Ark, cameos as Heinrich Himmler. Alexei Sayle played the sultan of Hatay. Paul Maxwell portrayed "the man with the Panama Hat" who took possession of the Cross of Coronado. Wrestler and stuntman Pat Roach, who played three roles in the previous two films, made a short cameo as the Nazi who accompanies Vogel to the Zeppelin. Roach was set to film a fight with Ford, but it was cut. In a deleted scene, Roach's agent boards the second biplane on the Zeppelin with a World War I flying ace (played by Frederick Jaeger), only for the pair to fall to their deaths after the flying ace makes an error. Richard Young played Garth, the leader of the tomb robbers who chased young Indiana Jones and then gives him his hat. Eugene Lipinski portrayed the mysterious agent G-Man, while Vernon Dobtcheff appeared as the butler of Castle Brunwald.

Development
George Lucas and Steven Spielberg had intended to make a trilogy of Indiana Jones films since Lucas had first pitched Raiders of the Lost Ark to Spielberg in 1977, though they signed for five films with Paramount Pictures by 1979. After the mixed critical and public reaction to Indiana Jones and the Temple of Doom, Spielberg decided to complete the trilogy to fulfill his promise to Lucas, with the intent to invoke the film with the spirit and tone of Raiders of the Lost Ark. Temple of Doom writers Willard Huyck and Gloria Katz chose not to return due to both having other commitments and feeling satisfied with their work in the second film. Throughout the film's development and pre-production, Spielberg admitted he was "consciously regressing" in making the film. Due to his commitment to the film, the director had to drop out of directing Big and Rain Man.

Lucas initially suggested making the film "a haunted mansion movie", for which Romancing the Stone writer Diane Thomas wrote a script. Spielberg rejected the idea because of the similarity to Poltergeist, which he had co-written and produced. Lucas first introduced the Holy Grail in an idea for the film's prologue, which was to be set in Scotland. He intended the Grail to have a pagan basis, with the rest of the film revolving around a separate Christian artifact in Africa. Spielberg did not care for the Grail idea, which he found too esoteric, even after Lucas suggested giving it healing powers and the ability to grant immortality (much like the fictional magical power given to the Ark in the first film of the trilogy). In September 1984, Lucas completed an eight-page treatment titled Indiana Jones and the Monkey King, which he soon followed with an 11-page outline. The story saw Indiana battling a ghost in Scotland before finding the Fountain of Youth in Africa.

Chris Columbus—who had written the Spielberg-produced Gremlins, The Goonies, and Young Sherlock Holmes—was hired to write the script. His first draft, dated May 3, 1985, changed the main plot device to a Garden of Immortal Peaches. It begins in 1937, with Indiana battling the murderous ghost of Baron Seamus Seagrove III in Scotland. Indiana travels to Mozambique to aid Dr. Clare Clarke (a Katharine Hepburn-type according to Lucas), who has found a 200-year-old pygmy. The pygmy is kidnapped by the Nazis during a boat chase, and Indiana, Clare and Scraggy Brier—an old friend of Indiana—travel up the Zambezi river to rescue him. Indiana is killed in the climactic battle but is resurrected by the Monkey King. Other characters include a cannibalistic African tribe; Nazi Sergeant Gutterbuhg, who has a mechanical arm; Betsy, a stowaway student who is suicidally in love with Indiana; and a pirate leader named Kezure (described as a Toshiro Mifune-type), who dies eating a peach because he is not pure of heart.

Columbus's second draft, dated August 6, 1985, removed Betsy and featured Dash—an expatriate bar owner for whom the Nazis work—and the Monkey King as villains. The Monkey King forces Indiana and Dash to play chess with real people and disintegrates each person who is captured. Indiana subsequently battles the undead, destroys the Monkey King's rod, and marries Clare. Location scouting commenced in Africa but Spielberg and Lucas abandoned Monkey King because of its negative depiction of African natives, and because the script was too unrealistic. Spielberg acknowledged that it made him "... feel very old, too old to direct it." Columbus's script was leaked onto the Internet in 1997, and many believed it was an early draft for the fourth film because it was mistakenly dated to 1995.

Dissatisfied, Spielberg suggested introducing Indiana's father, Henry Jones, Sr. Lucas was dubious, believing the Grail should be the story's focus, but Spielberg convinced him that the father–son relationship would serve as a great metaphor in Indiana's search for the artifact. Spielberg hired Menno Meyjes, who had worked on Spielberg's The Color Purple and Empire of the Sun, to begin a new script on January 1, 1986. Meyjes completed his script ten months later. It depicted Indiana searching for his father in Montségur, where he meets a nun named Chantal. Indiana travels to Venice, takes the Orient Express to Istanbul, and continues by train to Petra, where he meets Sallah and reunites with his father. Together they find the grail. At the climax, a Nazi villain touches the Grail and explodes; when Henry touches it, he ascends a stairway to Heaven. Chantal chooses to stay on Earth because of her love for Indiana. In a revised draft dated two months later, Indiana finds his father in Krak des Chevaliers, the Nazi leader is a woman named Greta von Grimm, and Indiana battles a demon at the Grail site, which he defeats with a dagger inscribed with "God is King". The prologue in both drafts has Indiana in Mexico battling for possession of Montezuma's death mask with a man who owns gorillas as pets.

Spielberg suggested Innerspace writer Jeffrey Boam perform the next rewrite. Boam spent two weeks reworking the story with Lucas, which yielded a treatment that is largely similar to the final film. Boam told Lucas that Indiana should find his father in the middle of the story. "Given the fact that it's the third film in the series, you couldn't just end with them obtaining the object. That's how the first two films ended," he said, "So I thought, let them lose the Grail, and let the father–son relationship be the main point. It's an archaeological search for Indy's own identity and coming to accept his father is more what it's about [than the quest for the Grail]." Boam said he felt there was not enough character development in the previous films. In Boam's first draft, dated September 1987, the film is set in 1939. The prologue has adult Indiana retrieving an Aztec relic for a museum curator in Mexico and features the circus train. Henry and Elsa (who is described as having dark hair) were searching for the Grail on behalf of the Chandler Foundation, before Henry went missing. The character of Kazim is here named Kemal, and is an agent of the Republic of Hatay, which seeks the grail for its own. Kemal shoots Henry and dies drinking from the wrong chalice. The Grail Knight battles Indiana on horseback, while Vogel is crushed by a boulder while attempting to steal the Grail.

Boam's February 23, 1988, rewrite used many of Connery's comic suggestions. It included the prologue that was eventually filmed; because of the mixed response to Empire of the Sun, which was about a young boy, Lucas had to convince Spielberg to show Indiana as a boy. Spielberg—who was later awarded the Distinguished Eagle Scout Award—had the idea of making Indiana a Boy Scout. The 1912 prologue as seen in the film refers to events in the lives of Indiana's creators. When Indiana cracks the bullwhip to defend himself against a lion, he accidentally lashes and scars his chin. Ford gained this scar in a car accident as a young man. Indiana taking his nickname from his pet Alaskan Malamute is a reference to the character being named after Lucas's dog. The train carriage Indiana enters is named "Doctor Fantasy's Magic Caboose", which was the name producer Frank Marshall used when performing magic tricks. Spielberg suggested the idea, Marshall came up with the false-bottomed box through which Indiana escapes, and production designer Elliott Scott suggested the trick be done in a single, uninterrupted shot. Spielberg intended the shot of Henry with his umbrella—after he causes the bird strike on the German plane—to evoke Ryan's Daughter. Indiana's mother, named Margaret in this version, dismisses Indiana when he returns home with the Cross of Coronado, while his father is on a long-distance call. Walter Chandler of the Chandler Foundation features, but is not the main villain; he plunges to his death in the tank. Elsa introduces Indiana and Brody to a large Venetian family that knows Henry. Leni Riefenstahl appears at the Nazi rally in Berlin. Vogel is beheaded by the traps guarding the Grail. Kemal tries to blow up the Grail Temple during a comic fight in which gunpowder is repeatedly lit and extinguished. Elsa shoots Henry, then dies drinking from the wrong Grail, and Indiana rescues his father from falling into the chasm while grasping for the Grail. Boam's revision of March 1 showed Henry causing the seagulls to strike the plane, and has Henry saving Indiana at the end.

During an undated "Amblin" revision and a rewrite by Tom Stoppard (under the pen name Barry Watson) dated May 8, 1988, further changes were made. Stoppard polished most of the dialogue, and created the "Panama Hat" character to link the prologue's segments featuring the young and adult Indianas. The Venetian family is cut. Kemal is renamed Kazim and now wants to protect the grail rather than find it. Chandler is renamed Donovan. The scene of Brody being captured is added. Vogel now dies in the tank, while Donovan shoots Henry and then drinks from the false grail, and Elsa falls into the chasm. The Grail trials are expanded to include the stone-stepping and leap of faith.

Filming
Principal photography began on May 16, 1988, in the Tabernas Desert in Spain's Almería province. Spielberg originally had planned the chase to be a short sequence shot over two days, but he drew up storyboards to make the scene an action-packed centerpiece. Thinking he would not surpass the truck chase from Raiders of the Lost Ark (because the truck was much faster than the tank), he felt this sequence should be more story-based and needed to show Indiana and Henry helping each other. He later said he had more fun storyboarding the sequence than filming it. The second unit had begun filming two weeks before. After approximately ten days, the production moved to the Escuela de Arte de Almería, to film the scenes set in the Sultan of Hatay's palace. Cabo de Gata-Níjar Natural Park was used for the road, tunnel and beach sequence (at Playa de Mónsul) in which birds strike the plane. The shoot's Spanish portion wrapped on June 2, 1988, in Guadix, Granada, with filming of Brody's capture at Alexandretta train station. The filmmakers built a mosque near the station for atmosphere, rather than adding it as a visual effect.

The exteriors of "Brunwald Castle" were filmed at Bürresheim Castle in West Germany. In the movie the image of the castle has been flipped and the building was expanded with a Matte painting depicting a copy of the right facade to the left of the main tower. Filming for the castle interiors took place in the United Kingdom from June 5 to 10, 1988, at Elstree Studios in Borehamwood, England. On June 16, Lawrence Hall, London, was used as the interior of Berlin Tempelhof Airport. Filming returned to Elstree the next day to capture the motorcycle escape, continuing at the studio for interior scenes until July 18. One day was spent at North Weald Airfield on June 29 to film Indiana leaving for Venice. Ford and Connery acted much of the Zeppelin table conversation without trousers on because of the overheated set. Spielberg, Marshall and Kennedy interrupted the shoot to make a plea to the Parliament of the United Kingdom to support the economically "depressed" British studios. July 20–22 was spent filming the temple interiors. The temple set, which took six weeks to build, was supported on 80 feet of hydraulics and ten gimbals for use during the earthquake scene. Resetting between takes took twenty minutes while the hydraulics were put to their starting positions and the cracks filled with plaster. The shot of the Grail falling to the temple floor—causing the first crack to appear—was attempted on the full-size set, but proved too difficult. Instead, crews built a separate floor section that incorporated a pre-scored crack sealed with plaster. It took several takes to throw the Grail from 6 feet onto the right part of the crack. July 25–26 was spent on night shoots at Stowe School, Stowe, Buckinghamshire, for the Nazi rally.

Filming resumed two days later at Elstree, where Spielberg swiftly filmed the library, Portuguese freighter, and catacombs sequences. The steamship fight in the prologue's 1938 portion was filmed in three days on a sixty-by-forty-feet (eighteen-by-twelve-meter) deck built on gimbals at Elstree. A dozen dump tanks – each holding three hundred imperial gallons (360 U.S. gallons; 3000 lb.; 1363 liters) of water – were used in the scene. Henry's house was filmed at Mill Hill, London. Indiana and Kazim's fight in Venice in front of a ship's propeller was filmed in a water tank at Elstree. Spielberg used a long focus lens to make it appear the actors were closer to the propeller than they really were. Two days later, on August 4, another portion of the boat chase using Hacker Craft sport boats, was filmed at Tilbury Docks in Essex. The shot of the boats passing between two ships was achieved by first cabling the ships off so they would be safe. The ships were moved together while the boats passed between, close enough that one of the boats scraped the sides of the ships. An empty speedboat containing dummies was launched from a floating platform between the ships amid fire and smoke that helped obscure the platform. The stunt was performed twice because the boat landed too short of the camera in the first attempt. The following day, filming in England wrapped at the Royal Masonic School in Rickmansworth, which doubled for Indiana's college (as it had in Raiders of the Lost Ark). Shooting in Venice took place on August 8. For scenes such as Indiana and Brody greeting Elsa, shots of the boat chase, and Kazim telling Indiana where his father is, Robert Watts gained control of the Grand Canal from 7 am to 1 pm, sealing off tourists for as long as possible. Cinematographer Douglas Slocombe positioned the camera to ensure no satellite dishes would be visible. San Barnaba di Venezia served as the library's exterior. The next day, filming moved to the ancient city of Petra, Jordan, where Al Khazneh (The Treasury) stood in for the temple housing the Grail. The cast and crew became guests of King Hussein and Queen Noor. The Treasury had previously appeared in Sinbad and the Eye of the Tiger. The main cast completed their scenes that week, after 63 days of filming.

The second unit filmed part of the prologue's 1912 segment from August 29 to September 3. The main unit began two days later with the circus train sequence at Alamosa, Colorado, on the Cumbres and Toltec Scenic Railroad. They filmed at Pagosa Springs on September 7, and then at Cortez on September 10. From September 14 to 16, filming of Indiana falling into the train carriages took place in Los Angeles. The production then moved to Utah's Arches National Park to shoot more of the opening. A house in Antonito, Colorado was used for the Jones family home. The production had intended to film at Mesa Verde National Park, but Native American representatives had religious objections to its use. When Spielberg and editor Michael Kahn viewed a rough cut of the film in late 1988, they felt it suffered from a lack of action. The motorcycle chase was shot during post-production at Mount Tamalpais and Fairfax near Skywalker Ranch. The closing shot of Indiana, Henry, Sallah and Brody riding into the sunset was filmed in Amarillo, Texas in early 1989 by the second unit, directed by Frank Marshall. Filming ended on September 16, 1988 after 123 days of filming.

Design
Mechanical effects supervisor George Gibbs said the film was the most difficult one of his career. He visited a museum to negotiate renting a small French World War I tank, but decided he wanted to make one. The tank was based on the Tank Mark VIII, which was 36 ft long and weighed 28 ST. However, some liberties were taken with the design. Gibbs built the tank over the framework of a 28 ST excavator and added 7 ST tracks that were driven by two automatic hydraulic pumps, each connected to a Range Rover V8 engine. Gibbs built the tank from steel rather than aluminum or fiberglass because it would allow the realistically suspensionless vehicle to endure the rocky surfaces. Unlike its historic counterpart, which had only the two side guns, the tank had a turret gun added as well. It took four months to build and was transported to Almería on a Short Belfast plane and then a low loader truck.

The tank broke down twice. The distributor's rotor arm broke and a replacement had to be sourced from Madrid. Then two of the device's valves used to cool the oil exploded, due to solder melting and mixing with the oil. It was very hot in the tank, despite the installation of ten fans, and the lack of suspension meant the driver was unable to stop shaking during filming breaks. The tank only moved at 10 to 12 mph, which Vic Armstrong said made it difficult to film Indiana riding a horse against the tank while making it appear faster. A smaller section of the tank's top made from aluminum and which used rubber tracks was used for close-ups. It was built from a searchlight trailer, weighed eight tons, and was towed by a four-wheel drive truck. It had safety nets on each end to prevent injury to those falling off. A quarter-scale model by Gibbs was driven over a 50 ft cliff on location; Industrial Light & Magic created further shots of the tank's destruction with models and miniatures.

Michael Lantieri, mechanical effects supervisor for the 1912 scenes, noted the difficulty in shooting the train sequence. "You can't just stop a train," he said, "If it misses its mark, it takes blocks and blocks to stop it and back up." Lantieri hid handles for the actors and stuntmen to grab onto when leaping from carriage to carriage. The carriage interiors shot at Universal Studios Hollywood were built on tubes that inflated and deflated to create a rocking motion. For the close-up of the rhinoceros that strikes at (and misses) Indiana, a foam and fiberglass animatronic was made in London. When Spielberg decided he wanted it to move, the prop was sent to John Carl Buechler in Los Angeles, who resculpted it over three days to blink, snarl, snort and wiggle its ears. The giraffes were also created in London. Because steam locomotives are very loud, Lantieri's crew would respond to first assistant director David Tomblin's radioed directions by making the giraffes nod or shake their heads to his questions, which amused the crew. For the villains' cars, Lantieri selected a 1914 Ford Model T, a 1919 Ford Model T truck and a 1916 Saxon Model 14, fitting each with a Ford Pinto V6 engine. Sacks of dust were hung under the cars to create a dustier environment.

Spielberg used doves for the seagulls that Henry scares into striking the German plane because the real gulls used in the first take did not fly. In December 1988, Lucasfilm ordered 1,000 disease-free gray rats for the catacombs scenes from the company that supplied the snakes and bugs for the previous films. Within five months, 5,000 rats had been bred for the sequence; 1,000 mechanical rats stood in for those that were set on fire. Several thousand snakes of five breeds—including a boa constrictor—were used for the train scene, in addition to rubber ones onto which Phoenix could fall. The snakes would slither from their crates, requiring the crew to dig through sawdust after filming to find and return them. Two lions were used, which became nervous because of the rocking motion and flickering lights. Costume designer Anthony Powell found it a challenge to create Connery's costume because the script required the character to wear the same clothes throughout. Powell thought about his own grandfather and incorporated tweed suits and fishing hats. Powell felt it necessary for Henry to wear glasses, but did not want to hide Connery's eyes, so chose rimless ones. He could not find any suitable, so he had them specially made. The Nazi costumes were genuine and were found in Eastern Europe by Powell's co-designer Joanna Johnston, to whom he gave research pictures and drawings for reference. The motorcycles used in the chase from the castle were a mixed bag: the scout model with sidecar in which Indy and Henry escape was an original Dnepr, complete with machine gun pintle on the sidecar, while the pursuing vehicles were more modern machines dressed up with equipment and logos to make them resemble German army models. Gibbs used two Swiss Pilatus P-2 air force training planes standing in as pursuing Luftwaffe Arado Ar 96s for the Zeppelin biplane escape sequence. He built a device based on an internal combustion engine to simulate gunfire, which was safer and less expensive than firing blanks. Baking soda was applied to Connery to create Henry's bullet wound. Vinegar was applied to create the foaming effect as the water from the Grail washes it away. At least one reproduction Kübelwagen was used during filming despite the film being set two years prior to manufacture of said vehicles.

Effects
Industrial Light & Magic (ILM) built an 8 foot foam model of the Zeppelin to complement shots of Ford and Connery climbing into the Gotha Go 145C biplane. A biplane model with a 2 foot wingspan was used for the shot of the biplane detaching. Stop motion animation was used for the shot of the German fighter's wings breaking off as it crashes through the tunnel. The tunnel was a 210 feet model that occupied 14 of ILM's parking spaces for two months. It was built in eight-foot sections, with hinges allowing each section to be opened to film through. Ford and Connery were filmed against bluescreen; the sequence required their car to have a dirty windscreen, but to make the integration easier this was removed and later composited into the shot. Dust and shadows were animated onto shots of the plane miniature to make it appear as if it disturbed rocks and dirt before it exploded. Several hundred tim-birds were used in the background shots of the seagulls striking the other plane; for the closer shots, ILM dropped feather-coated crosses onto the camera. These only looked convincing because the scene's quick cuts merely required shapes that suggested gulls. ILM's Wes Takahashi supervised the film's effects sequences.

Spielberg devised the three trials that guard the Grail. For the first, the blades under which Indiana ducks like a penitent man were a mix of practical and miniature blades created by Gibbs and ILM. For the second trial, in which Indiana spells "Iehova" on stable stepping stones, it was intended to have a tarantula crawl up Indiana after he mistakenly steps on "J". This was filmed and deemed unsatisfactory, so ILM filmed a stuntman hanging through a hole that appears in the floor, 30 feet above a cavern. As this was dark, it did not matter that the matte painting and models were rushed late in production. The third trial, the leap of faith that Indiana makes over an apparently impassable ravine after discovering a bridge hidden by forced perspective, was created with a model bridge and painted backgrounds. This was cheaper than building a full-size set. A puppet of Ford was used to create a shadow on the 9 ft by 13 ft model because Ford had filmed the scene against bluescreen, which did not incorporate the shaft of light from the entrance.

Spielberg wanted Donovan's death shown in one shot, so it would not look like an actor having makeup applied between takes. Inflatable pads were applied to Julian Glover's forehead and cheeks by Nick Dudman that made his eyes seem to recede during the character's initial decomposition, as well as a mechanical wig that grew his hair. The shot of Donovan's death was the first all-digital composite scene in a movie, and was created over three months by morphing together three puppets of Donovan created by Stephan Dupuis in separate stages of decay, a technique ILM mastered on Willow (1988). A fourth puppet was used for the decaying clothes, because the puppet's torso mechanics had been exposed. Complications arose because Alison Doody's double had not been filmed for the scene's latter two elements, so the background and hair from the first shot had to be used throughout, with the other faces mapped over it. Donovan's skeleton was hung on wires like a marionette; it required several takes to film it crashing against the wall because not all the pieces released upon impact.

Ben Burtt designed the sound effects. He recorded chickens for the sounds of the rats, and digitally manipulated the noise made by a Styrofoam cup for the castle fire. He rode in a biplane to record the sounds for the dogfight sequence, and visited the demolition of a wind turbine for the plane crashes. Burtt wanted an echoing gunshot for Donovan wounding Henry, so he fired a .357 Magnum in Skywalker Ranch's underground car park, just as Lucas drove in. A rubber balloon was used for the earthquake tremors at the temple. The film was released in selected theaters in the 70 mm Full-Field Sound format, which allowed sounds to not only move from side to side, but also from the theater's front to its rear. Matte paintings of the Austrian castle and the Berlin airport were based on real buildings; the Austrian castle "Schloss Brunwald" is Bürresheim Castle near Mayen in Rhineland-Palatinate, Germany, that was made to look larger. Rain was created by filming granulated Borax soap against black at high speed. It was only lightly double exposed into the shots so it would not resemble snow. The lightning was animated. The Administration Building at San Francisco's Treasure Island was used as the exterior of Berlin Tempelhof Airport. The structure already had period-appropriate art deco architecture, as it had been constructed in 1938 for planned use as an airport terminal. ILM added a control tower, Nazi banners, vintage automobiles and a sign stating "Berlin Flughafen". The establishing shot of the Hatayan city at dusk was created by filming silhouetted cutouts that were backlit and obscured by smoke. Matte paintings were used for the sky and to give the appearance of fill light in the shadows and rim light on the edges of the buildings.

Themes
A son's relationship with his estranged father is a common theme in Spielberg's films, including E.T. the Extra-Terrestrial and Hook.

The film's exploration of fathers and sons coupled with its use of religious imagery is comparable to two other 1989 films, Star Trek V: The Final Frontier and Field of Dreams. Writing for The New York Times, Caryn James felt the combination in these films reflected New Age concerns, where the worship of God was equated to searching for fathers. James felt that neither Indiana nor his father is preoccupied with finding the Grail or defeating the Nazis, but that, rather, both seek professional respect for one another in their boys' own adventure. James contrasted the temple's biblically epic destruction with the more effective and quiet conversation between the Joneses at the film's end. James noted that Indiana's mother does not appear in the prologue, being portrayed as already having died before the film's events began.

Marketing
The film's teaser trailer debuted in November 1988 with Scrooged and The Naked Gun. Rob MacGregor wrote the tie-in novelization that was released in June 1989; it sold enough copies to be included on the New York Times Best Seller list. MacGregor went on to write the first six Indiana Jones prequel novels during the 1990s. Following the film's release, Ford donated Indiana's fedora and jacket to the Smithsonian Institution's National Museum of American History.

No toys were made to promote the film; Indiana Jones "never happened on the toy level", said Larry Carlat, senior editor of the journal Children's Business. Rather, Lucasfilm promoted Indiana as a lifestyle symbol, selling tie-in fedoras, shirts, jackets and watches. Two video games based on the film were released by LucasArts in 1989: Indiana Jones and the Last Crusade: The Graphic Adventure and Indiana Jones and the Last Crusade: The Action Game. A third game was produced by Taito and released in 1991 for the Nintendo Entertainment System. Ryder Windham wrote another novelization, released in April 2008 by Scholastic, to coincide with the release of Indiana Jones and the Kingdom of the Crystal Skull. Hasbro released toys based on The Last Crusade in July 2008.

Box office
The film was released in the United States and Canada on Wednesday, May 24, 1989, in 2,327 theaters, earning a record $37,031,573 over the 4-day Memorial Day weekend. The gross was boosted by high ticket prices in some venues ($7 a ticket). Its 3-day opening weekend figure of $29,355,021 was surpassed later that year by Ghostbusters II and Batman, which grossed more in its opening 3 days than The Last Crusade in 4. The film would hold the record for having the highest Memorial Day gross until 1994 when The Flintstones took it. Additionally, it had the largest opening weekend for a Harrison Ford film for eight years until Air Force One surpassed it in 1997. Its Saturday gross of $11,181,429 was the first time a film had made over $10 million in one day. It broke the record for the best seven-day performance with a gross of $50.2 million, beating the $45.7 million grossed by Temple of Doom in 1984 on 1,687 screens. It added another record with $77 million after twelve days, and earned $100 million in a record nineteen days. In France, the film broke a record by selling a million admissions within two and a half weeks. In the UK it opened in three London theaters before opening two days later on 361 screens nationally, setting an opening weekend record of £1,811,542 ($2,862,200), breaking the one set the year before by Crocodile Dundee II. It spent six weeks at number one in the UK.

The film eventually grossed $197,171,806 in the United States and Canada and $277 million internationally, for a worldwide total of $474,171,806. At the time of its release, the film was the 11th highest-grossing film of all time. Despite competition from Batman, The Last Crusade became the highest-grossing film worldwide in 1989. In North America, Batman took top position. Behind Kingdom of the Crystal Skull and Raiders, The Last Crusade is the third-highest grossing Indiana Jones film in the United States and Canada, though it is also behind Temple of Doom when adjusting for inflation. Box Office Mojo estimates that the film sold over 49 million tickets in North America. The film was re-released in 1992 earning $139,000.

Home media
The film was released along with its two predecessors as part of a trilogy DVD box set in 2003. It contained extra materials and a special documentary covering the production of the films. Sales figures for the box set were extremely successful and 600,000 copies were sold in the US on the first day of release. In 2012, the film and was released on Blu-ray along with the three other films in the Indiana Jones film series at the time. In 2021, a remastered 4K version of the film was released on Ultra HD Blu-ray, produced using scans of the original negatives. It was released as part of a box set for the then four films in the Indiana Jones film series.

Critical response
On Rotten Tomatoes, the film has an approval rating of based on  reviews, with an average rating of 8/10. The site's critics consensus reads, "Lighter and more comedic than its predecessor, Indiana Jones and the Last Crusade returns the series to the brisk serial adventure of Raiders, while adding a dynamite double act between Harrison Ford and Sean Connery." Metacritic calculated a weighted average score of 65 out of 100 based on 14 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

Jay Boyar of the Orlando Sentinel said that while the film "lacks the novelty of Raiders, and the breathless pacing of Temple of Doom, it was an entertaining capper to the trilogy." Peter Travers of Rolling Stone remarked the film was "the wildest and wittiest Indy of them all". Richard Corliss of Time and David Ansen of Newsweek praised it, as did Vincent Canby of The New York Times. "Though it seems to have the manner of some magically reconstituted B-movie of an earlier era, The Last Crusade is an endearing original," Canby wrote, calling the revelation that Jones had a father who was not proud of him to be a "comic surprise". Canby believed that while the film did not match the previous two in its pacing, it still had "hilariously off-the-wall sequences" such as the circus train chase. He also said that Spielberg was maturing by focusing on the father–son relationship, a call echoed by McBride in Variety. Roger Ebert praised the sequence depicting Jones as a Boy Scout with the Cross of Coronado, comparing it to the "style of illustration that appeared in the boys' adventure magazines of the 1940s". He said that Spielberg "must have been paging through his old issues of Boys' Life magazine...the feeling that you can stumble over astounding adventures just by going on a hike with your Scout troop. Spielberg lights the scene in the strong, basic colors of old pulp magazines." The Hollywood Reporter felt Connery and Ford deserved Academy Award nominations.

It was panned by Andrew Sarris in The New York Observer, David Denby in New York magazine, Stanley Kauffmann in The New Republic and Georgia Brown in The Village Voice. Jonathan Rosenbaum of the Chicago Reader called the film "soulless". The Washington Post reviewed the film twice; Hal Hinson's review on the day of the film's release was negative, describing it as "nearly all chases and dull exposition". Although he praised Ford and Connery, he felt the film's exploration of Jones's character took away his mystery and that Spielberg should not have tried to mature his storytelling. Two days later, Desson Thomson published a positive review praising the film's adventure and action, as well as the father–son relationship's thematic depth.

Influence
The film won the Academy Award for Best Sound Effects Editing; it also received nominations for Best Original Score and Best Sound (Ben Burtt, Gary Summers, Shawn Murphy and Tony Dawe), but lost to The Little Mermaid and Glory respectively. Connery received a Golden Globe Award nomination for Best Supporting Actor. Connery and the visual and sound effects teams were also nominated at the 43rd British Academy Film Awards. The film won the 1990 Hugo Award for Best Dramatic Presentation, and was nominated for Best Motion Picture Drama at the Young Artist Awards. John Williams's score won a Broadcast Music Incorporated Award, and was nominated for a Grammy Award.

The prologue depicting Jones in his youth inspired Lucas to create The Young Indiana Jones Chronicles television series, which featured Sean Patrick Flanery as the young adult Indiana and Corey Carrier as the 8- to 10-year-old Indiana. According to Dark Horse Comics author Lee Marrs, Lucasfilm considered for a while to make a continuation to the film series starring Phoenix as a younger Jones, but these plans were dropped after his untimely death. The 13-year-old incarnation played by Phoenix in the film was the focus of a Young Indiana Jones series of young adult novels that began in 1990; by the ninth novel, the series had become a tie-in to the television show. German author Wolfgang Hohlbein revisited the prologue in one of his novels, in which Jones encounters the lead grave robber—whom Hohlbein christens Jake—in 1943. The film's ending begins the 1995 comic series Indiana Jones and the Spear of Destiny, which moves forward to depict Jones and his father searching for the Holy Lance in Ireland in 1945. Spielberg intended to have Connery cameo as Henry in Indiana Jones and the Kingdom of the Crystal Skull (2008), but Connery turned it down as he had retired.

Petra's use for the movie's climactic scenes greatly contributed to its popularity as an international tourist destination. Before the film's release, only a few thousand visitors per year made the trip; since then it has grown to almost a million annually. Shops and hotels near the site play up the connection, and it is mentioned prominently in itineraries of locations used in the film series. Jordan's tourism board mentions the connection on its website. In 2012, the satirical news site The Pan-Arabia Enquirer ran a mock story claiming that the board had officially renamed Petra "That Place from Indiana Jones" to reflect how the world more commonly refers to it.

title: Indiana Jones and the Last Crusade


text:
Daubentonia

Daubentonia is the sole genus of the Daubentoniidae, a family of lemuroid primate native to much of Madagascar.

The aye-aye (Daubentonia madagascariensis) is the only extant member. However, a second species known as the giant aye-aye (Daubentonia robusta) lived until recently, becoming extinct within the last 1000 years.

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

title: Daubentonia


text:
Textile

Textile is an umbrella term that includes various fiber-based materials, including fibers, yarns, filaments, threads, different fabric types, etc. At first, the word "textiles" only referred to woven fabrics. However, weaving is not the only manufacturing method, and many other methods were later developed to form textile structures based on their intended use. Knitting and non-woven are other popular types of fabric manufacturing. In the contemporary world, textiles satisfy the material needs for versatile applications, from simple daily clothing to bulletproof jackets, spacesuits, and doctor's gowns.

Textiles are divided into two groups: consumer textiles for domestic purposes and technical textiles. In consumer textiles, aesthetics and comfort are the most important factors, while in technical textiles, functional properties are the priority.

Geotextiles, industrial textiles, medical textiles, and many other areas are examples of technical textiles, whereas clothing and furnishings are examples of consumer textiles. Each component of a textile product, including fiber, yarn, fabric, processing, and finishing, affects the final product. Components may vary among various textile products as they are selected based on their fitness for purpose.

Fiber is the smallest component of a fabric; fibers are typically spun into yarn, and yarns are used to manufacture fabrics. Fiber has a hair-like appearance and a higher length-to-width ratio. The sources of fibers may be natural, synthetic, or both. The techniques of felting and bonding directly transform fibers into fabric. In other cases, yarns are manipulated with different fabric manufacturing systems to produce various fabric constructions. The fibers are twisted or laid out to make a long, continuous strand of yarn. Yarns are then used to make different kinds of fabric by weaving, knitting, crocheting, knotting, tatting, or braiding. After manufacturing, textile materials are processed and finished to add value, such as aesthetics, physical characteristics, and increased usefulness. The manufacturing of textiles is the oldest industrial art. Dyeing, printing, and embroidery are all different decorative arts applied to textile materials.

Textile
The word 'textile' comes from the Latin adjective textilis, meaning 'woven', which itself stems from textus, the past participle of the verb texere, 'to weave'. Originally applied to woven fabrics, the term "textiles" is now used to encompass a diverse range of materials, including fibers, yarns, and fabrics, as well as other related items.

Fabric
A "fabric" is defined as any thin, flexible material made from yarn, directly from fibers, polymeric film, foam, or any combination of these techniques. Fabric has a broader application than cloth. Fabric is synonymous with cloth, material, goods, or piece goods. The word 'fabric' also derives from Latin, with roots in the Proto-Indo-European language. Stemming most recently from the Middle French fabrique, or "building," and earlier from the Latin fabrica ('workshop; an art, trade; a skillful production, structure, fabric'), the noun fabrica stems from the Latin faber" artisan who works in hard materials', which itself is derived from the Proto-Indo-European dhabh-, meaning 'to fit together'.

Cloth
Cloth is a flexible substance typically created through the processes of weaving, felting, or knitting using natural or synthetic materials. The word 'cloth' derives from the Old English clað, meaning "a cloth, woven, or felted material to wrap around one's body', from the Proto-Germanic klaithaz, similar to the Old Frisian klath, the Middle Dutch cleet, the Middle High German kleit and the German kleid, all meaning 'garment'.

Although cloth is a type of fabric, not all fabrics can be classified as cloth due to differences in their manufacturing processes, physical properties, and intended uses. Materials that are woven, knitted, tufted, or knotted from yarns are referred to as cloth, while wallpaper, plastic upholstery products, carpets, and nonwoven materials are examples of fabrics.

History
Textiles themselves are too fragile to survive across millennia; the tools used for spinning and weaving make up most of the prehistoric evidence for textile work. The earliest tool for spinning was the spindle, to which a whorl was eventually added. The weight of the whorl improved the thickness and twist of the spun thread. Later, the spinning wheel was invented. Historians are unsure where; some say China, others India.

The precursors of today's textiles include leaves, barks, fur pelts, and felted cloths.

The Banton Burial Cloth, the oldest existing example of warp ikat in Southeast Asia, is displayed at the National Museum of the Philippines. The cloth was most likely made by the native Asian people of northwest Romblon. The first clothes, worn at least 70,000 years ago and perhaps much earlier, were probably made of animal skins and helped protect early humans from the elements. At some point, people learned to weave plant fibers into textiles. The discovery of dyed flax fibers in a cave in the Republic of Georgia dated to 34,000 BCE suggests that textile-like materials were made as early as the Paleolithic era.

The speed and scale of textile production have been altered almost beyond recognition by industrialization and the introduction of modern manufacturing techniques.

Textile industry
The textile industry grew out of art and craft and was kept going by guilds. In the 18th and 19th centuries, during the industrial revolution, it became increasingly mechanized. In 1765, when a machine for spinning wool or cotton called the spinning jenny was invented in the United Kingdom, textile production became the first economic activity to be industrialised. In the 20th century, science and technology were driving forces. The textile industry exhibits inherent dynamism, influenced by a multitude of transformative changes and innovations within the domain. Textile operations can experience ramifications arising from shifts in international trade policies, evolving fashion trends, evolving customer preferences, variations in production costs and methodologies, adherence to safety and environmental regulations, as well as advancements in research and development.

The textile and garment industries exert a significant impact on the economic systems of numerous countries engaged in textile production.

Naming
Most textiles were called by their base fibre generic names, their place of origin, or were put into groups based loosely on manufacturing techniques, characteristics, and designs. Nylon, olefin, and acrylic are generic names for some of the more commonly used synthetic fibres.

Related terms
The related words "fabric" and "cloth" and "material" are often used in textile assembly trades (such as tailoring and dressmaking) as synonyms for textile. However, there are subtle differences in these terms in specialized usage. Material is an extremely broad term basically meaning consisting of matter, and requires context to be useful. A textile is any material made of interlacing fibers, including carpeting and geotextiles, which may not necessarily be used in the production of further goods, such as clothing and upholstery. A fabric is a material made through weaving, knitting, spreading, felting, stitching, crocheting or bonding that may be used in the production of further products, such as clothing and upholstery, thus requiring a further step of the production. Cloth may also be used synonymously with fabric, but often specifically refers to a piece of fabric that has been processed or cut.
 * Greige goods: Textiles that are raw and unfinished are referred to as greige goods. After manufacturing, the materials are processed and finished.
 * Piece goods: Piece goods were textile materials sold in cut pieces as specified by the buyer. Piece goods were either cut from a fabric roll or made to a specific length, also known as yard goods.

Types
Textiles are various materials made from fibers and yarns. The term "textile" was originally only used to refer to woven fabrics, but today it covers a broad range of subjects. Textiles are classified at various levels, such as according to fiber origin (natural or synthetic), structure (woven, knitted, nonwoven), finish, etc.   However, there are primarily two types of textiles:

Consumer textiles
Textiles have an assortment of uses, the most common of which are for clothing and for containers such as bags and baskets. In the household, textiles are used in carpeting, upholstered furnishings, window shades, towels, coverings for tables, beds, and other flat surfaces, and in art. Textiles are used in many traditional hand crafts such as sewing, quilting, and embroidery.

Technical textiles

Textiles produced for industrial purposes, and designed and chosen for technical characteristics beyond their appearance, are commonly referred to as technical textiles. Technical textiles include textile structures for automotive applications, medical textiles (such as implants), geotextile (reinforcement of embankments), agrotextiles (textiles for crop protection), protective clothing (such as clothing resistant to heat and radiation for fire fighter clothing, against molten metals for welders, stab protection, and bullet proof vests).

In the workplace, textiles can be used in industrial and scientific processes such as filtering. Miscellaneous uses include flags, backpacks, tents, nets, cleaning rags, transportation devices such as balloons, kites, sails, and parachutes; textiles are also used to provide strengthening in composite materials such as fibreglass and industrial geotextiles.

Due to the often highly technical and legal requirements of these products, these textiles are typically tested in order to ensure they meet stringent performance requirements. Other forms of technical textiles may be produced to experiment with their scientific qualities and to explore the possible benefits they may have in the future. Threads coated with zinc oxide nanowires, when woven into fabric, have been shown capable of "self-powering nanosystems", using vibrations created by everyday actions like wind or body movements to generate energy.

Significance
Textiles are all around us. The textile is a component of basic needs like food and shelter. Textiles are everywhere in our lives, from bath towels to space suits. Textiles help humans by comforting, protecting, and extending their lives. Textiles meet our clothing needs, keeping us warm in the winter and cool in the summer. There are several applications for textiles, such as medical textiles, intelligent textiles, and automotive textiles. All of them contribute to the well-being of humans.

Serviceability in textiles
The term "serviceability" refers to a textile product's ability to meet the needs of consumers. The emphasis is on knowing the target market and matching the needs of the target market to the product's serviceability. Serviceability or performance in textiles is the ability of textile materials to withstand various conditions, environments, and hazards. Aesthetics, durability, comfort and safety, appearance retention, care, environmental impact, and cost are the serviceability concepts employed in structuring the material.

Components
Fibers, yarns, fabric construction, finishes and design are components of a textile product. The selection of specific components varies with the intended use, therefore the fibers, yarns, and fabric manufacturing systems are selected with consideration of the required performance.

Other uses
Textiles, textile production, and clothing were necessities of life in prehistory, intertwined with the social, economic, and religious systems. Other than clothing, textile crafts produced utilitarian, symbolic, and opulent items. Archaeological artifacts from the Stone Age and the Iron Age in Central Europe are used to examine prehistoric clothing and its role in forming individual and group identities.

Source of knowledge
Artifacts unearthed in various archaeological excavations informs us about the remains of past human life and their activities. Dyed flax fibers discovered in the Republic of Georgia indicate that textile-like materials were developed during the Paleolithic period. Radiocarbon dates the microscopic fibers to 36,000 years ago, when modern humans migrated from Africa.

Several textile remnants, such as the Inca Empire's textile arts remnants, which embody the Incas' aesthetics and social ideals, serve as a means for disseminating information about numerous civilizations, customs, and cultures.

There are textile museums that display history related to many aspects of textiles. A textile museum raises public awareness and appreciation of the artistic merits and cultural significance of the world's textiles on a local, national, and international scale. The George Washington University Museum and Textile Museum in Washington, D.C., was established in 1925.

Narrative art
The Bayeux Tapestry is a rare example of secular Romanesque art. The art work depicts the Norman Conquest of England in 1066.

Decorative art
Textiles are also used for decorative art. Appliqué work of pipili is decorative art of Odisha, a state in eastern India, used for umbrellas, wall hangings, lamp shades, and bags. To make a range of decorative products, colored cloth in the shapes of animals, birds, flowers, are sewn onto a base cloth.

Architextiles
Architextiles, a combination of the words architecture and textile, are textile-based assemblages. Awnings are a basic type of architectural textile. Mughal Shahi Lal Dera Tent, which was a movable palace, is an example of the architextiles of the Mughal period.

Currency
Textiles had been used as currency as well. In Africa, textiles were used as currency in addition to being used for clothing, headwear, swaddling, tents, sails, bags, sacks, carpets, rugs, curtains, etc. Along the east–west axis in sub-Saharan Africa, cloth strip, which was typically produced in the savannah, was used as a form of currency.

Votive offering
Textiles were among the objects offered to the gods [votive offering] in ancient Greece for religious purposes.

Fiber
The smallest component of a fabric is fiber; fibers are typically spun into yarn, and yarns are used to make fabrics. Fibers are very thin and hair-like structures. The sources of fibers may be natural, synthetic, or both.

Global consumption
Global fiber production per person has increased from 8.4 kilograms in 1975 to 14.3 kilograms in 2021. After a modest drop due to COVID-19 pandemic in 2020, global fiber output rebounded to 113 million tons in 2021. Global fiber output roughly doubled from 58 million tons in 2000 to 113 million tons in 2021 and is anticipated to reach 149 million tons in 2030.

The demand for synthetic fibers is increasing rapidly. This has numerous causes. Reasons include its low price, the demand-supply imbalance of cotton, and its [Synthetic fibers'] versatility in design and application. Synthetic fibers accounts for 70% of global fiber use, mainly polyester. By 2030, the synthetic fiber market will reach 98.21 billion US dollars. From 2022 to 2030, the market is anticipated to increase by 5.1% per year.

Fiber sources
Monomers are the building blocks of polymers. Polymers in fibers are of two types: additive or condensation. Natural fibers, such as cotton and wool, have a condensation polymer type, whereas synthetic fibers can have either an additive or a condensation polymer type. For example, acrylic fiber and olefin fibers have additive polymers, and nylon and polyester are condensation polymers.
 * Natural fibers are obtained from plants, animals and minerals. Since prehistoric times, textiles have been made from natural fibers. Natural fibers are further categorized as cellulosic, protein, and mineral.
 * Synthetic or manmade fibers are manufactured with chemical synthesis.
 * Semi-synthetic: A subset of synthetic or manmade fibers is semi-synthetic fiber. Rayon is a classified as a semi-synthetic fiber, made with natural polymers.

Fiber properties
Fiber properties influence textile characteristics such as aesthetics, durability, comfort, and cost. Fineness is one of the important characteristics of the fibers. They have a greater length-to-width ratio [100 times the diameter]. Fibers need to be strong, cohesive, and flexible. The usefulness of fibers are characterized on the basis of certain parameters such as strength, flexibility, and length to diameter ratio, and spinnability. Natural fibers are relatively short [ staple] in length. Synthetic fibers are produced in longer lengths called filaments. Silk is the only natural fiber that is a filament. The classification of fibers is based on their origin, derivation, and generic types.

Certain properties of synthetic fibers, such as their diameter, cross section, and color, can be altered during production.

Cotton: Cotton has a long history of use in the clothing due to its favorable properties. This fiber is soft, moisture-absorbent, breathable, and is renowned for its long durability.

Blends (blended textiles)
Fabric or yarn produced with a combination of two or more types of different fibers, or yarns to obtain desired traits. Blending is possible at various stages of textile manufacturing. Final composition is liable for the properties of the resultant product. Natural and synthetic fibers are blended to overcome disadvantage of single fiber properties and to achieve better performance characteristics and aesthetic effects such as devoré, heather effect, cross dyeing and stripes pattern etc. Clothing woven from a blend of cotton and polyester can be more durable and easier to maintain than material woven solely from cotton. Other than sharing functional properties, blending makes the products more economical.

Union or Union fabrics is the 19th century term for blended fabrics. While it is no longer in use. Mixture or mixed cloth is another term used for blended cloths when different types of yarns are used in warp and weft sides.

Blended textiles are not new.
 * Mashru was a 16th-century fabric, is one of the earliest forms of "mixed cloth", a material composed of silk and cotton.
 * Siamoise was a 17th-century cotton and linen material.

Composition
Fiber composition the fiber blend composition of mixtures of the fibers, is an important criterion to analyze the behavior, properties such as functional aspects, and commercial classification of the merchandise.

The most common blend is cotton and polyester. Regular blended fabric is 65% polyester and 35% cotton. It is called a reverse blend if the ratio of cotton predominates—the percentage of the fibers changes with the price and required properties.

Blending adds value to the textiles; it helps in reducing the cost (artificial fibers are less expensive than natural fibers) and adding advantage in properties of the final product. For instance, a small amount of spandex adds stretch to the fabrics. Wool can add warmth.

Plant

 * Grass, rush, hemp, and sisal are all used in making rope. In the first two, the entire plant is used for this purpose, while in the last two, only fibers from the plant are used. Coir (coconut fiber) is used in making twine, and also in floormats, doormats, brushes, mattresses, floor tiles, and sacking.
 * Straw and bamboo are both used to make hats. Straw, a dried form of grass, is also used for stuffing, as is kapok.
 * Fibers from pulpwood trees, cotton, rice, hemp, and nettle are used in making paper.
 * Cotton, flax, jute, hemp, modal, banana, bamboo, lotus, eucalyptus, mulberry, and sugarcane are all used in clothing. Piña (pineapple fiber) and ramie are also fibers used in clothing, generally with a blend of other fibers such as cotton. Nettles have also been used to make a fiber and fabric very similar to hemp or flax. The use of milkweed stalk fiber has also been reported, but it tends to be somewhat weaker than other fibers like hemp or flax.
 * The inner bark of the lacebark tree is a fine netting that has been used to make clothing and accessories as well as utilitarian articles such as rope.
 * Acetate is used to increase the shininess of certain fabrics such as silks, velvets, and taffetas.
 * Seaweed is used in the production of textiles: a water-soluble fiber known as alginate is produced and is used as a holding fiber; when the cloth is finished, the alginate is dissolved, leaving an open area.
 * Rayon is a manufactured fiber derived from plant pulp. Different types of rayon can imitate feel and texture of silk, cotton, wool, or linen.

Fibers from the stalks of plants, such as hemp, flax, and nettles, are also known as 'bast' fibers. Hemp fiber is yellowish-brown fiber made from the hemp plant. The fiber characteristics are coarser, harsher, strong and lightweight. Hemp fiber is used primary to make twine, rope and cordage.

Animal
Animal textiles are commonly made from hair, fur, skin or silk (in the case of silkworms).
 * Wool refers to the hair of the domestic sheep or goat, which is distinguished from other types of animal hair in that the individual strands are coated with scales and tightly crimped, and the wool as a whole is coated with a wax mixture known as lanolin (sometimes called wool grease), which is waterproof and dirtproof. The lanolin and other contaminants are removed from the raw wool before further processing. Woolen refers to a yarn produced from carded, non-parallel fibre, while worsted refers to a finer yarn spun from longer fibers which have been combed to be parallel.
 * Other animal textiles which are made from hair or fur are alpaca wool, vicuña wool, llama wool, and camel hair, generally used in the production of coats, jackets, ponchos, blankets, and other warm coverings.
 * Cashmere, the hair of the Indian cashmere goat, and mohair, the hair of the North African angora goat, are types of wool known for their softness. Used in the production of sweaters and scarfs.
 * Angora refers to the long, thick, soft hair of the angora rabbit. Qiviut is the fine inner wool of the muskox.
 * Silk is an animal textile made from the fibres of the cocoon of the Chinese silkworm which is spun into a smooth fabric prized for its softness. There are two main types of the silk: 'mulberry silk' produced by the Bombyx mori, and 'wild silk' such as Tussah silk (wild silk). Silkworm larvae produce the first type if cultivated in habitats with fresh mulberry leaves for consumption, while Tussah silk is produced by silkworms feeding purely on oak leaves. Around four-fifths of the world's silk production consists of cultivated silk. Silk products include pillow covers, dresses, tops, skirts, bed sheets, curtains.

Microbes
Bacterial cellulose can be made from industrial organic and agricultural waste, and used as material for textiles and clothing.

Mineral

 * Asbestos and basalt fibre are used for vinyl tiles, sheeting and adhesives, "transite" panels and siding, acoustical ceilings, stage curtains, and fire blankets.
 * Glass fibre is used in the production of ironing board and mattress covers, ropes and cables, reinforcement fibre for composite materials, insect netting, flame-retardant and protective fabric, soundproof, fireproof, and insulating fibres. Glass fibres are woven and coated with Teflon to produce beta cloth, a virtually fireproof fabric which replaced nylon in the outer layer of United States space suits since 1968.
 * Metal fibre, metal foil, and metal wire have a variety of uses, including the production of cloth-of-gold and jewellery. Hardware cloth (US term only) is a coarse woven mesh of steel wire, used in construction. It is much like standard window screening, but heavier and with a more open weave.

Minerals and natural and synthetic fabrics may be combined, as in emery cloth, a layer of emery abrasive glued to a cloth backing. Also, "sand cloth" is a U.S. term for fine wire mesh with abrasive glued to it, employed like emery cloth or coarse sandpaper.

Synthetic
In the 20th century, they were supplemented by artificial fibers made from petroleum. Textiles are made in various strengths and degrees of durability, from the finest microfibre made of strands thinner than one denier to the sturdiest canvas.

Synthetic textiles are used primarily in the production of clothing, as well as the manufacture of geotextiles. Synthetic fibers are those that are constructed by humans through chemical synthesis.
 * Polyester fibre is used in all types of clothing, either alone or blended with fibres such as cotton.
 * Aramid fibre (e.g. Twaron) is used for flame-retardant clothing, cut-protection, and armour.
 * Acrylic is a fibre used to imitate wools, including cashmere, and is often used in replacement of them.
 * Nylon is a fibre used to imitate silk; it is used in the production of pantyhose. Thicker nylon fibres are used in rope and outdoor clothing.
 * Spandex (trade name Lycra) is a polyurethane product that can be made tight-fitting without impeding movement. It is used to make activewear, bras, and swimsuits.
 * Olefin fibre is a fibre used in activewear, linings, and warm clothing. Olefins are hydrophobic, allowing them to dry quickly. A sintered felt of olefin fibres is sold under the trade name Tyvek.
 * Ingeo is a polylactide fibre blended with other fibres such as cotton and used in clothing. It is more hydrophilic than most other synthetics, allowing it to wick away perspiration.
 * Lurex is a metallic fibre used in clothing embellishment.
 * Milk proteins have also been used to create synthetic fabric. Milk or casein fibre cloth was developed during World War I in Germany, and further developed in Italy and America during the 1930s. Milk fibre fabric is not very durable and wrinkles easily, but has a pH similar to human skin and possesses anti-bacterial properties. It is marketed as a biodegradable, renewable synthetic fibre.
 * Carbon fibre is mostly used in composite materials, together with resin, such as carbon fibre reinforced plastic. The fibres are made from polymer fibres through carbonization.

Production methods
Textile manufacturing has progressed from prehistoric crafts to a fully automated industry. Over the years, there have been continuous improvements in fabric structure and design. Important parameters in fabric selection:

The primary consideration in fabric selection is the end use. The fabric needs vary greatly depending on the application. Similar types of fabric may not be suitable for all applications.

Fabric weight is an important criteria while producing different fabrics. A carpet requires a fabric with 1300 GSM, but a robe may be made with 160 GSM. Certainly, fabrics for clothes and carpets have distinct weights. Stretchable fabrics have greater movability and are thus more comfortable than fabrics with no stretch or less stretch.

Textile exports
According to the United Nations Commodity Trade Statistics Database, the global textiles and apparel export market reached $772 billion in 2013.

Changing dynamics of the market
China is the largest exporter of textile goods. The majority of China's exports consist of apparel, apparel accessories, textile yarns, and textile products. The competitive advantages of the China are low prices and abundant labor, lowered commercial obstacles, and a ready supply of raw materials. China, along with the United States and India, is a major producer of cotton.

China's apparel market share has declined in recent years due to various reasons and a shift toward high-end, sophisticated products. Additionally, the investors from China made stakes in Myanmar, Vietnam, and Cambodia. Last year, its market share was 36.7%, or $161 billion, a decline of 8% year-over-year. In other words, China lost $14 billion in garment work orders to other countries in a single year. In 2016, Bangladesh's apparel market share was valued at $28 billion, increasing 7.69 percent from the previous year.

In 2016 the leading exporters of apparel were; China ($161 billion), Bangladesh ($28 billion), Vietnam ($25 billion), India ($18 billion), Hong Kong ($16 billion), Turkey ($15 billion), and Indonesia ($7 billion).

Garment Exports in Bangladesh Reached Record High in 2021-2022 Fiscal Year; China ($220.302 billion), Bangladesh ($38.70 billion), India ($8.127 billion), Pakistan ($19.33 billion).

Finishing
The fabric, when it leaves a loom or knitting machine, is not readily usable. It may be rough, uneven, or have flaws like skewing. Hence, it is necessary to finish the fabric. Finishing techniques enhance the value of the treated fabrics. After manufacturing, textiles undergo a range of finishing procedures, including bleaching, dyeing, printing, as well as mechanical and chemical finishing.

Coloration
Textiles are often dyed, with fabrics available in almost every colour. The dyeing process often requires several dozen gallons of water for each pound of clothing. Coloured designs in textiles can be created by weaving together fibres of different colours (tartan or Uzbek Ikat), adding coloured stitches to finished fabric (embroidery), creating patterns by resist dyeing methods, tying off areas of cloth and dyeing the rest (tie-dyeing), drawing wax designs on cloth and dyeing in between them (batik), or using various printing processes on finished fabric. Woodblock printing, still used in India and elsewhere today, is the oldest of these dating back to at least 220 CE in China. Textiles are also sometimes bleached, making the textile pale or white.

Color matching
In textiles, color matching extends beyond selecting the appropriate dyestuffs or pigments and combining them in precise proportions to achieve the desired end product color. Meeting criteria for fastness, cost, and quality is also essential. This process plays a critical role in materializing a designer's concept into an actual product.

Finishes
Textile finishing is the process of converting the loomstate or raw goods into a useful product, which can be done mechanically or chemically. Finishing is a broad term that refers to a variety of physical and chemical techniques and treatments that finish one stage of textile production while also preparing for the next. Textile finishing can include aspects like improving surface feel, aesthetical enhancement, and adding advanced chemical finishes. A finish is any process that transforms unfinished products into finished products. This includes mechanical finishing and chemical applications which alter the composition of treated textiles (fiber, yarn or fabric.)

Since the 1990s, with advances in technologies such as permanent press process, finishing agents have been used to strengthen fabrics and make them wrinkle free. More recently, nanomaterials research has led to additional advancements, with companies such as Nano-Tex and NanoHorizons developing permanent treatments based on metallic nanoparticles for making textiles more resistant to things such as water, stains, wrinkles, and pathogens such as bacteria and fungi.

Textiles receive a range of treatments before they reach the end-user. From formaldehyde finishes (to improve crease-resistance) to biocidic finishes and from flame retardants to dyeing of many types of fabric, the possibilities are almost endless. However, many of these finishes may also have detrimental effects on the end user. A number of disperse, acid and reactive dyes, for example, have been shown to be allergenic to sensitive individuals. Further to this, specific dyes within this group have also been shown to induce purpuric contact dermatitis.

Eisengarn, meaning "iron yarn" in English, is a light-reflecting, strong material invented in Germany in the 19th century. It is made by soaking cotton threads in a starch and paraffin wax solution. The threads are then stretched and polished by steel rollers and brushes. The result of the process is a lustrous, tear-resistant yarn which is extremely hardwearing.

Environmental and health impacts
After the oil industry, the fashion industry is the second biggest polluter of agricultural land, which has several harmful impacts on the environment. As the industry grows, the effect on the environment is worsening. Textile manufacturing is one of the oldest and most technologically complicated industries. This industry's fundamental strength stems from its solid manufacturing base of a diverse range of fibers/yarns ranging from natural fibers such as jute, silk, wool, and cotton, to synthetic or manufactured fibers that include polyester, viscose, nylon, and acrylic.

Textile mills and their wastewater have grown in proportion to the increase in demand for textile products, generating a severe pollution concern around the world. Numerous textile industry chemicals pose environmental and health risks. Among the compounds in textile effluent, dyes are considered significant contaminants. Water pollution generated by the discharge of untreated wastewater and the use of toxic chemicals, particularly during processing, account for the majority of the global environmental concerns linked with the textile industry.

Environmental impacts
Clothing is necessary to meet the fundamental needs of humans. Increased population and living standards have increased the need for clothing, enhancing the demand for textile manufacturing; wet processing needs more water consumption. Conventional machinery and treatment procedures use enormous quantities of water, especially for natural fibers, which require up to 150 kg of water per kg of material. The textile sector is accountable for a substantial number of environmental impacts. However, the discharge of untreated effluents into water bodies is responsible for the majority of environmental harm produced by the textile sector.

The textile sector is believed to utilise 79 trillion litres of water per year and to discharge around 20% of all industrial effluent into the environment. Reportedly, aromatic and heterocyclic compounds with color-display and polar groups make up most of the dyes used in textile coloration processes. The structure is more complex and stable, making it more difficult to degrade printing and dyeing wastewater.

In addition, textiles constitute a significant percentage of landfill waste. In 2023, North Carolina State University researchers used enzymes to separate cotton from polyester in an early step towards reducing textile waste, allowing each material to be recycled.

Health impacts
Many kinds of respiratory diseases, skin problems, and allergies may be caused by dyes and pigments discharged into the water.

Although formaldehyde levels in clothing are unlikely to be at levels high enough to cause an allergic reaction, due to the presence of such a chemical, quality control and testing are of utmost importance. Flame retardants (mainly in the brominated form) are also of concern where the environment, and their potential toxicity, are concerned.

Chemicals use, advantage and health impacts
Certain chemical finishes contain potential hazards to health and the environment. Perfluorinated acids are considered to be hazardous to human health by the US Environmental Protection Agency.

Testing
Testing for these additives is possible at a number of commercial laboratories. It is also possible to have textiles tested according to the Oeko-tex certification standard, which contains limits levels for the use of certain chemicals in textiles products.

Laws and regulations
Different countries have certain laws and regulations to protect consumers' interests. The Textile Fiber Products Identification Act is a law that protects consumers in the United States. The act protects producer and consumer interests by implementing labelling (required content disclosure) and advertising requirements on textile products. The Textile Fiber Products Identification Act applies to all textile fiber products besides wool, which is governed by the Wool Product Label Number. The law prohibits misinformation about the fiber content, misbranding, and any unfair advertising practice, as well as requires businesses to operate in a particular manner.

Testing of textiles
Testing occurs at various stages of the textile manufacturing process, from raw material to finished product. The purpose of testing is to evaluate and analyze the regulatory compliance, the product's quality and performance, as well as to measure its specifications. Textile testing encompasses a wide range of methodologies, procedures, equipment, and sophisticated laboratories. Local governments and authorized organization's such as ASTM International, International Organization for Standardization, and American Association of Textile Chemists and Colorists establish standards for testing of textiles.

Some examples of tests at different stages:

For fiber: Fiber identification is a necessary test for determining fiber content and classifying products. The labelling of items with their fiber content percentage is a regulatory requirement. Using microscopy, solubility, and burn tests, fibers are distinguished from one another. More fiber relating tests include fiber length, diameter, Micronaire.

For yarn: Yarn count, Denier, Strength, evenness.

For fabric: Dimensional stability, color fastness, thread count, G.S.M, pilling, flammability.

title: Textile


text:
Putrescine

Putrescine is an organic compound with the formula (CH2)4(NH2)2. It is a colorless solid that melts near room temperature. It is classified as a diamine. Together with cadaverine, it is largely responsible for the foul odor of putrefying flesh, but also contributes to other unpleasant odors.

Production
Putrescine is produced on an industrial scale by the hydrogenation of succinonitrile.

Biotechnological production of putrescine from a renewable feedstock has been investigated. A metabolically engineered strain of Escherichia coli that produces putrescine at high concentrations in glucose mineral salts medium has been described.

Biochemistry
Spermidine synthase uses putrescine and S-adenosylmethioninamine (decarboxylated S-adenosyl methionine) to produce spermidine. Spermidine in turn is combined with another S-adenosylmethioninamine and gets converted to spermine.

Putrescine is synthesized in small quantities by healthy living cells by the action of ornithine decarboxylase.

Putrescine is synthesized biologically via two different pathways, both starting from arginine.
 * In one pathway, arginine is converted into agmatine. The conversion is catalyzed by the enzyme arginine decarboxylase (ADC). Agmatine is transformed into N-carbamoylputrescine by agmatine imino hydroxylase (AIH). Finally, N-carbamoylputrescine is hydrolyzed to give putrescine.
 * In the second pathway, arginine is converted into ornithine and then ornithine is converted into putrescine by ornithine decarboxylase (ODC).

Occurrence
Putrescine is found in all organisms. Putrescine is widely found in plant tissues, often being the most common polyamine present within the organism. Its role in development is well documented, but recent studies have suggested that putrescine also plays a role in stress responses in plants, both to biotic and abiotic stressors. The absence of putrescine in plants is associated with an increase in both parasite and fungal population in plants.

Putrescine serves an important role in a multitude of ways, which include: a cation substitute, an osmolyte, or a transport protein. It also serves as an important regulator in a variety of surface proteins, both on the cell surface and on organelles, such as the mitochondria and chloroplasts. A recorded increase of ATP production has been found in mitochondria and ATP synthesis by chloroplasts with an increase in mitochondrial and chloroplastic putrescine, but putrescine has also been shown to function as a developmental inhibitor in some plants, which can be seen as dwarfism and late flowering in Arabiadopsis plants.

Putrescine production in plants can also be promoted by fungi in the soil. Piriformospora indica (P. indica) is one such fungus, found to promote putrescine production in Arabidopsis and common garden tomato plants. In a 2022 study it was shown that the presence of this fungus had a promotional effect on the growth of the root structure of plants. After gas chromatography testing, putrescine was found in higher amounts in these root structures.

Plants that had been inoculated with P. indica had presented an excess of arginine decarboxylase. This is used in the process of making putrescine in plant cells. One of the downstream effects of putrescine in root cells is the production of auxin. That same study found that putrescine added as a fertilizer showed the same results as if it was inoculated with the fungus, which was also shown in Arabidopsis and barley. The evolutionary foundations of this connection and putrescine are still unclear.

Putrescine is a component of bad breath and bacterial vaginosis. It is also found in semen and some microalgae, together with spermine and spermidine.

Uses
Putrescine reacts with adipic acid to yield the polyamide nylon 46, which is marketed by DSM under the trade name Stanyl.

Application of putrescine, along with other polyamines, can be used to extend the shelf life of fruits by delaying the ripening process. Pre-harvest application of putrescine has been shown to increase plant resistance to high temperatures and drought. Both of these effects seem to result from lowered ethylene production following exogenous putrescine exposure.

Due to its role in putrification, putrescine has also been proposed as a biochemical marker for determining how long a corpse has been decomposing.

History
Putrescine and cadaverine were first described in 1885 by the Berlin physician Ludwig Brieger (1849–1919).

Toxicity
In rats, putrescine has a low acute oral toxicity of 2000 mg/kg body weight, with no-observed-adverse-effect level of 2000 ppm (180 mg/kg body weight/day).

title: Putrescine


text:
Cadaverine

Cadaverine is an organic compound with the formula (CH2)5(NH2)2. Classified as a diamine, it is a colorless liquid with an unpleasant odor. It is present in small quantities in living organisms but is often associated with the putrefaction of animal tissue. Together with putrescine, it is largely responsible for the foul odor of putrefying flesh, but also contributes to other unpleasant odors.

Production
Cadaverine is produced by decarboxylation of lysine. It can be synthesized by many methods including the hydrogenation of glutaronitrile and the reactions of 1,5-dichloropentane.

History
Putrescine and cadaverine were first described in 1885 by the Berlin physician Ludwig Brieger (1849–1919).

Receptors
In zebrafish, the trace amine-associated receptor 13c (or TAAR13c) has been identified as a high-affinity receptor for cadaverine. In humans, molecular modelling and docking experiments have shown that cadaverine fits into the binding pocket of the human TAAR6 and TAAR8.

Clinical significance
Elevated levels of cadaverine have been found in the urine of some patients with defects in lysine metabolism. The odor commonly associated with bacterial vaginosis has been linked to cadaverine and putrescine.

Derivatives

 * Pentolinium and pentamethonium.

Toxicity
Acute oral toxicity of cadaverine is 2,000 mg/kg body weight; its no-observed-adverse-effect level is 2,000 ppm (180 mg/kg body weight/day).

title: Cadaverine