text:
Isotope analysis

Isotope analysis is the identification of isotopic signature, abundance of certain stable isotopes of chemical elements within organic and inorganic compounds. Isotopic analysis can be used to understand the flow of energy through a food web, to reconstruct past environmental and climatic conditions, to investigate human and animal diets, for food authentification, and a variety of other physical, geological, palaeontological and chemical processes. Stable isotope ratios are measured using mass spectrometry, which separates the different isotopes of an element on the basis of their mass-to-charge ratio.

Tissues affected
Isotopic oxygen is incorporated into the body primarily through ingestion at which point it is used in the formation of, for archaeological purposes, bones and teeth. The oxygen is incorporated into the hydroxylcarbonic apatite of bone and tooth enamel.

Bone is continually remodelled throughout the lifetime of an individual. Although the rate of turnover of isotopic oxygen in hydroxyapatite is not fully known, it is assumed to be similar to that of collagen; approximately 10 years. Consequently, should an individual remain in a region for 10 years or longer, the isotopic oxygen ratios in the bone hydroxyapatite would reflect the isotopic oxygen ratios present in that region.

Teeth are not subject to continual remodelling and so their isotopic oxygen ratios remain constant from the time of formation. The isotopic oxygen ratios, then, of teeth represent the ratios of the region in which the individual was born and raised. Where deciduous teeth are present, it is also possible to determine the age at which a child was weaned. Breast milk production draws upon the body water of the mother, which has higher levels of 18O due to the preferential loss of 16O through sweat, urine, and expired water vapour.

While teeth are more resistant to chemical and physical changes over time, both are subject to post-depositional diagenesis. As such, isotopic analysis makes use of the more resistant phosphate groups, rather than the less abundant hydroxyl group or the more likely diagenetic carbonate groups present.

Applications
Isotope analysis has widespread applicability in the natural sciences. These include numerous applications in the biological, earth and environmental sciences.

Reconstructing ancient diets
Archaeological materials, such as bone, organic residues, hair, or sea shells, can serve as substrates for isotopic analysis. Carbon, nitrogen and zinc isotope ratios are used to investigate the diets of past people; these isotopic systems can be used with others, such as strontium or oxygen, to answer questions about population movements and cultural interactions, such as trade.

Carbon isotopes are analysed in archaeology to determine the source of carbon at the base of the foodchain. Examining the 12C/13C isotope ratio, it is possible to determine whether animals and humans ate predominantly C3 or C4 plants. Potential C3 food sources include wheat, rice, tubers, fruits, nuts and many vegetables, while C4 food sources include millet and sugar cane. Carbon isotope ratios can also be used to distinguish between marine, freshwater, and terrestrial food sources.

Carbon isotope ratios can be measured in bone collagen or bone mineral (hydroxylapatite), and each of these fractions of bone can be analysed to shed light on different components of diet. The carbon in bone collagen is predominantly sourced from dietary protein, while the carbon found in bone mineral is sourced from all consumed dietary carbon, included carbohydrates, lipids, and protein.

Nitrogen isotopes can be used to infer soil conditions, with enriched δ15N used to infer the addition of manure. A complication is that enrichment also occurs as a result of environmental factors, such as wetland denitrification, salinity, aridity, microbes, and clearance.

To obtain an accurate picture of palaeodiets, it is important to understand processes of diagenesis that may affect the original isotopic signal. It is also important for the researcher to know the variations of isotopes within individuals, between individuals, and over time.

Sourcing archaeological materials
Isotope analysis has been particularly useful in archaeology as a means of characterization. Characterization of artifacts involves determining the isotopic composition of possible source materials such as metal ore bodies and comparing these data to the isotopic composition of analyzed artifacts. A wide range of archaeological materials such as metals, glass and lead-based pigments have been sourced using isotopic characterization. Particularly in the Bronze Age Mediterranean, lead isotope analysis has been a useful tool for determining the sources of metals and an important indicator of trade patterns. Interpretation of lead isotope data is, however, often contentious and faces numerous instrumental and methodological challenges. Problems such as the mixing and re-using of metals from different sources, limited reliable data and contamination of samples can be difficult problems in interpretation.

Ecology
All biologically active elements exist in a number of different isotopic forms, of which two or more are stable. For example, most carbon is present as 12C, with approximately 1% being 13C. The ratio of the two isotopes may be altered by biological and geophysical processes, and these differences can be utilized in a number of ways by ecologists. The main elements used in isotope ecology are carbon, nitrogen, oxygen, hydrogen and sulfur, but also include silicon, iron, and strontium.

Stable isotope analysis in aquatic ecosystems
Stable isotopes have become a popular method for understanding aquatic ecosystems because they can help scientists in understanding source links and process information in marine food webs. These analyses can also be used to a certain degree in terrestrial systems. Certain isotopes can signify distinct primary producers forming the bases of food webs and trophic level positioning. The stable isotope compositions are expressed in terms of delta values (δ) in permil (‰), i.e. parts per thousand differences from a standard. They express the proportion of an isotope that is in a sample. The values are expressed as:

 * δX = [(Rsample / Rstandard) – 1] × 103

where X represents the isotope of interest (e.g., 13C) and R represents the ratio of the isotope of interest and its natural form (e.g., 13C/12C). Higher (or less negative) delta values indicate increases in a sample's isotope of interest, relative to the standard, and lower (or more negative) values indicate decreases. The standard reference materials for carbon, nitrogen, and sulfur are Pee Dee Belamnite limestone, nitrogen gas in the atmosphere, and Cañon Diablo meteorite respectively. Analysis is usually done using a mass spectrometer, detecting small differences between gaseous elements. Analysis of a sample can cost anywhere from $30 to $100. Stable isotopes assist scientists in analyzing animal diets and food webs by examining the animal tissues that bear a fixed isotopic enrichment or depletion vs. the diet. Muscle or protein fractions have become the most common animal tissue used to examine the isotopes because they represent the assimilated nutrients in their diet. The main advantage to using stable isotope analysis as opposed to stomach content observations is that no matter what the status is of the animal's stomach (empty or not), the isotope tracers in the tissues will give us an understanding of its trophic position and food source. The three major isotopes used in aquatic ecosystem food web analysis are 13C, 15N and 34S. While all three indicate information on trophic dynamics, it is common to perform analysis on at least two of the previously mentioned three isotopes for better understanding of marine trophic interactions and for stronger results.

Hydrogen-2
The ratio of 2H, also known as deuterium, to 1H has been studied in both plant and animal tissue. Hydrogen isotopes in plant tissue are correlated with local water values but vary based on fractionation during photosynthesis, transpiration, and other processes in the formation of cellulose. A study on the isotope ratios of tissues from plants growing within a small area in Texas found tissues from CAM plants were enriched in deuterium relative to C4 plants. Hydrogen isotope ratios in animal tissue reflect diet, including drinking water, and have been used to study bird migration and aquatic food webs.

Carbon-13
Carbon isotopes aid us in determining the primary production source responsible for the energy flow in an ecosystem. The transfer of 13C through trophic levels remains relatively the same, except for a small increase (an enrichment < 1 ‰). Large differences of δ13C between animals indicate that they have different food sources or that their food webs are based on different primary producers (i.e. different species of phytoplankton, marsh grasses.) Because δ13C indicates the original source of primary producers, the isotopes can also help us determine shifts in diets, both short term, long term or permanent. These shifts may even correlate to seasonal changes, reflecting phytoplankton abundance. Scientists have found that there can be wide ranges of δ13C values in phytoplankton populations over a geographic region. While it is not quite certain as to why this may be, there are several hypotheses for this occurrence. These include isotopes within dissolved inorganic carbon pools (DIC) may vary with temperature and location and that growth rates of phytoplankton may affect their uptake of the isotopes. δ13C has been used in determining migration of juvenile animals from sheltered inshore areas to offshore locations by examining the changes in their diets. A study by Fry (1983) studied the isotopic compositions in juvenile shrimp of south Texas grass flats. Fry found that at the beginning of the study the shrimp had isotopic values of δ13C = -11 to -14‰ and 6-8‰ for δ15N and δ34S. As the shrimp matured and migrated offshore, the isotopic values changed to those resembling offshore organisms (δ13C= -15‰ and δ15N = 11.5‰ and δ34S = 16‰).

Sulfur-34
While there is no enrichment of 34S between trophic levels, the stable isotope can be useful in distinguishing benthic vs. pelagic producers and marsh vs. phytoplankton producers. Similar to 13C, it can also help distinguish between different phytoplankton as the key primary producers in food webs. The differences between seawater sulfates and sulfides (c. 21‰ vs -10‰) aid scientists in the discriminations. Sulfur tends to be more plentiful in less aerobic areas, such as benthic systems and marsh plants, than the pelagic and more aerobic systems. Thus, in the benthic systems, there are smaller δ34S values.

Nitrogen-15
Nitrogen isotopes indicate the trophic level position of organisms (reflective of the time the tissue samples were taken). There is a larger enrichment component with δ15N because its retention is higher than that of 14N. This can be seen by analyzing the waste of organisms. Cattle urine has shown that there is a depletion of 15N relative to the diet. As organisms eat each other, the 15N isotopes are transferred to the predators. Thus, organisms higher in the trophic pyramid have accumulated higher levels of 15N ( and higher δ15N values) relative to their prey and others before them in the food web. Numerous studies on marine ecosystems have shown that on average there is a 3.2‰ enrichment of 15N vs. diet between different trophic level species in ecosystems. In the Baltic sea, Hansson et al. (1997) found that when analyzing a variety of creatures (such as particulate organic matter (phytoplankton), zooplankton, mysids, sprat, smelt and herring,) there was an apparent fractionation of 2.4‰ between consumers and their apparent prey.

In addition to trophic positioning of organisms, δ15N values have become commonly used in distinguishing between land derived and natural sources of nutrients. As water travels from septic tanks to aquifers, the nitrogen rich water is delivered into coastal areas. Waste-water nitrate has higher concentrations of 15N than the nitrate that is found in natural soils in near shore zones. For bacteria, it is more convenient for them to uptake 14N as opposed to 15N because it is a lighter element and easier to metabolize. Thus, due to bacteria's preference when performing biogeochemical processes such as denitrification and volatilization of ammonia, 14N is removed from the water at a faster rate than 15N, resulting in more 15N entering the aquifer. 15N is roughly 10-20‰ as opposed to the natural 15N values of 2-8‰. The inorganic nitrogen that is emitted from septic tanks and other human-derived sewage is usually in the form of. Once the nitrogen enters the estuaries via groundwater, it is thought that because there is more 15N entering, that there will also be more 15N in the inorganic nitrogen pool delivered and that it is picked up more by producers taking up N. Even though 14N is easier to take up, because there is much more 15N, there will still be higher amounts assimilated than normal. These levels of δ15N can be examined in creatures that live in the area and are non migratory (such as macrophytes, clams and even some fish). This method of identifying high levels of nitrogen input is becoming a more and more popular method in attempting to monitor nutrient input into estuaries and coastal ecosystems. Environmental managers have become more and more concerned about measuring anthropogenic nutrient inputs into estuaries because excess in nutrients can lead to eutrophication and hypoxic events, eliminating organisms from an area entirely.

Oxygen-18
Analysis of the ratio of 18O to 16O in the shells of the Colorado Delta clam was used to assess the historical extent of the estuary in the Colorado River Delta prior to construction of upstream dams.

Forensic science
A recent development in forensic science is the isotopic analysis of hair strands. Hair has a recognisable growth rate of 9-11mm per month or 15 cm per year. Human hair growth is primarily a function of diet, especially drinking water intake. The stable isotopic ratios of drinking water are a function of location, and the geology that the water percolates through. 87Sr, 88Sr and oxygen isotope variations are different all over the world. These differences in isotopic ratio are then biologically 'set' in our hair as it grows and it has therefore become possible to identify recent geographic histories by the analysis of hair strands. For example, it could be possible to identify whether a terrorist suspect had recently been to a particular location from hair analysis. This hair analysis is a non-invasive method which is becoming very popular in cases that DNA or other traditional means are bringing no answers.

Isotope analysis can be used by forensic investigators to determine whether two or more samples of explosives are of a common origin. Most high explosives contain carbon, hydrogen, nitrogen and oxygen atoms and thus comparing their relative abundances of isotopes can reveal the existence of a common origin. Researchers have also shown that analysis of the 12C/13C ratios can locate the country of origin for a given explosive.

Stable isotopic analysis has also been used in the identification of drug trafficking routes. Isotopic abundances are different in morphine grown from poppies in south-east Asia versus poppies grown in south-west Asia. The same is applied to cocaine that is derived from Bolivia and that from Colombia.

Traceability
Stable isotopic analysis has also been used for tracing the geographical origin of food, timber, and in tracing the sources and fates of nitrates in the environment.

Hydrology
In isotope hydrology, stable isotopes of water (2H and 18O) are used to estimate the source, age, and flow paths of water flowing through ecosystems. The main effects that change the stable isotope composition of water are evaporation and condensation. Variability in water isotopes is used to study sources of water to streams and rivers, evaporation rates, groundwater recharge, and other hydrological processes.

Paleoclimatology
The ratio of 18O to 16O in ice and deep sea cores is temperature dependent, and can be used as a proxy measure for reconstructing climate change. During colder periods of the Earth's history (glacials) such as during the ice ages, 16O is preferentially evaporated from the colder oceans, leaving the slightly heavier and more sluggish 18O behind. Organisms such as foraminifera which combine oxygen dissolved in the surrounding water with carbon and calcium to build their shells therefore incorporate the temperature-dependent 18O to 16O ratio. When these organisms die, they settle out on the sea bed, preserving a long and invaluable record of global climate change through much of the Quaternary. Similarly, ice cores on land are enriched in the heavier 18O relative to 16O during warmer climatic phases (interglacials) as more energy is available for the evaporation of the heavier 18O isotope. The oxygen isotope record preserved in the ice cores is therefore a "mirror" of the record contained in ocean sediments.

Oxygen isotopes preserve a record of the effects of the Milankovitch cycles on climate change during the Quaternary, revealing an approximately 100,000-year cyclicity in the Earth's climate.

title: Isotope analysis


text:
Terracotta

Terracotta, also known as terra cotta or terra-cotta (lit. 'baked earth'; ), is a clay-based non-vitreous ceramic fired at relatively low temperatures. It is therefore a term used for earthenware objects of certain types, as set out below.

Usage and definitions of the term vary, such as:
 * In art, pottery, applied art, craft, construction and architecture, "terracotta" is a term often used for red-coloured earthenware sculptures or functional articles such as flower pots, water and waste water pipes, tableware, roofing tiles and surface embellishment on buildings. In such applications, the material is also called terracotta.
 * In archaeology and art history, "terracotta" is often used to describe objects such as figurines and loom weights not made on a potter's wheel, with vessels and other objects made on a wheel from the same material referred to as earthenware; the choice of term depends on the type of object rather than the material or shaping technique.
 * Terracotta is also used to refer to the natural brownish-orange color of most terracotta.

Glazed architectural terracotta and its unglazed version as exterior surfaces for buildings were used in East Asia for centuries before becoming popular in the West in the 19th century. Architectural terracotta can also refer to decorated ceramic elements such as antefixes and revetments, which had a large impact on the appearance of temples and other buildings in the classical architecture of Europe, as well as in the Ancient Near East.

This article covers the senses of terracotta as a medium in sculpture, as in the Terracotta Army and Greek terracotta figurines, and architectural decoration. East Asian and European sculpture in porcelain is not covered.

Production
Prior to firing, terracotta clays are easy to shape. Shaping techniques include throwing, slip casting as well as others.

After drying, it is placed in a kiln or, more traditionally, in a pit covered with combustible material, then fired. The typical firing temperature is around 1000 C, though it may be as low as 600 C in historic and archaeological examples. During this process, the iron oxides in the body reacts with oxygen, often resulting in the reddish colour known as terracotta. However, color can vary widely, including shades of yellow, orange, buff, red, pink, grey or brown.

A final method is to carve fired bricks or other terracotta shapes. This technique is less common, but examples can be found in the architecture of Bengal on Hindu temples and mosques.

Properties
Terracotta is not watertight, but its porousness decreases when the body is surface-burnished before firing. Glazes can used to decrease permeability and hence increase watertightness.

Unglazed terracotta is suitable for use below ground to carry pressurized water (an archaic use), for garden pots and irrigation or building decoration in many environments, and for oil containers, oil lamps, or ovens. Most other uses require the material to be glazed, such as tableware, sanitary piping, or building decorations built for freezing environments.

Terracotta will also ring if lightly struck, as long as it is not cracked.

Painted (polychrome) terracotta is typically first covered with a thin coat of gesso, then painted. It is widely used, but only suitable for indoor positions and much less durable than fired colors in or under a ceramic glaze. Terracotta sculptures in the West were rarely left in their "raw" fired state until the 18th century.

In art history
Terracotta female figurines were uncovered by archaeologists in excavations of Mohenjo-daro, Pakistan (3000–1500 BC). Along with phallus-shaped stones, these suggest some sort of fertility cult. The Burney Relief is an outstanding terracotta plaque from Ancient Mesopotamia of about 1950 BC. In Mesoamerica, the great majority of Olmec figurines were in terracotta. Many ushabti mortuary statuettes were also made of terracotta in Ancient Egypt.

The Ancient Greeks' Tanagra figurines were mass-produced mold-cast and fired terracotta figurines, that seem to have been widely affordable in the Hellenistic period, and often purely decorative in function. They were part of a wide range of Greek terracotta figurines, which included larger and higher-quality works such as the Aphrodite Heyl; the Romans too made great numbers of small figurines, which were often used in a religious context as cult statues or temple decorations. Etruscan art often used terracotta in preference to stone even for larger statues, such as the near life-size Apollo of Veii and the Sarcophagus of the Spouses. Campana reliefs are Ancient Roman terracotta reliefs, originally mostly used to make friezes for the outside of buildings, as a cheaper substitute for stone.

Indian sculpture made heavy use of terracotta from as early as the Indus Valley civilization (with stone and metal sculpture being rather rare), and in more sophisticated areas had largely abandoned modeling for using molds by the 1st century BC. This allows relatively large figures, nearly up to life-size, to be made, especially in the Gupta period and the centuries immediately following it. Several vigorous local popular traditions of terracotta folk sculpture remain active today, such as the Bankura horses.

Precolonial West African sculpture also made extensive use of terracotta. The regions most recognized for producing terracotta art in that part of the world include the Nok culture of central and north-central Nigeria, the Ife-Benin cultural axis in western and southern Nigeria (also noted for its exceptionally naturalistic sculpture), and the Igbo culture area of eastern Nigeria, which excelled in terracotta pottery. These related, but separate, traditions also gave birth to elaborate schools of bronze and brass sculpture in the area.

Chinese sculpture made great use of terracotta, with and without glazing and color, from a very early date. The famous Terracotta Army of Emperor Qin Shi Huang, 209–210 BC, was somewhat untypical, and two thousand years ago reliefs were more common, in tombs and elsewhere. Later Buddhist figures were often made in painted and glazed terracotta, with the Yixian glazed pottery luohans, probably of 1150–1250, now in various Western museums, among the most prominent examples. Brick-built tombs from the Han dynasty were often finished on the interior wall with bricks decorated on one face; the techniques included molded reliefs. Later tombs contained many figures of protective spirits and animals and servants for the afterlife, including the famous horses of the Tang dynasty; as an arbitrary matter of terminology these tend not to be referred to as terracottas.

European medieval art made little use of terracotta sculpture, until the late 14th century, when it became used in advanced International Gothic workshops in parts of Germany. The Virgin illustrated at the start of the article from Bohemia is the unique example known from there. A few decades later, there was a revival in the Italian Renaissance, inspired by excavated classical terracottas as well as the German examples, which gradually spread to the rest of Europe. In Florence, Luca della Robbia (1399/1400–1482) was a sculptor who founded a family dynasty specializing in glazed and painted terracotta, especially large roundels which were used to decorate the exterior of churches and other buildings. These used the same techniques as contemporary maiolica and other tin-glazed pottery. Other sculptors included Pietro Torrigiano (1472–1528), who produced statues, and in England busts of the Tudor royal family. The unglazed busts of the Roman Emperors adorning Hampton Court Palace, by Giovanni da Maiano, 1521, were another example of Italian work in England. They were originally painted but this has now been lost from weathering.

In the 18th-century unglazed terracotta, which had long been used for preliminary clay models or maquettes that were then fired, became fashionable as a material for small sculptures including portrait busts. It was much easier to work than carved materials, and allowed a more spontaneous approach by the artist. Claude Michel (1738–1814), known as Clodion, was an influential pioneer in France. John Michael Rysbrack (1694–1770), a Flemish portrait sculptor working in England, sold his terracotta modelli for larger works in stone, and produced busts only in terracotta. In the next century the French sculptor Albert-Ernest Carrier-Belleuse made many terracotta pieces, but possibly the most famous is The Abduction of Hippodameia depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day.

Architecture
Terracotta tiles have a long history in many parts of the world. Many ancient and traditional roofing styles included more elaborate sculptural elements than the plain roof tiles, such as Chinese Imperial roof decoration and the antefix of western classical architecture. In India West Bengal made a speciality of terracotta temples, with the sculpted decoration from the same material as the main brick construction.

Terracotta tiles have also been used extensively for floors since ancient times. The quality of terracotta floor tiles depends on the suitability of the clay, the manufacturing methods (kiln-fired being more durable than sun baked), and whether the terracotta tiles are sealed or not.

In the 19th century, the possibilities of terracotta decoration for buildings were again appreciated by architects, often using thicker pieces of terracotta and styled surfaces. The American architect Louis Sullivan is well known for his elaborate glazed terracotta ornamentation, designs that would have been impossible to execute in any other medium. Terracotta and tile were used extensively in the town buildings of Victorian Birmingham, England. Terracotta was marketed as a miracle material, largely impervious to the elements. Terracotta, however, can be damaged by water penetration, exposure, or failure through faulty design or installation. An excessive faith in the durability of the material led to shortcuts in design and execution, coupled with a belief that the material did not require maintenance, tainted the reputation of the material. By about 1930, the widespread use of concrete and Modernist architecture largely ended the use of terracotta in architecture.

Advantages in sculpture
As compared to bronze sculpture, terracotta uses a far simpler and quicker process for creating the finished work with much lower material costs. The easier task of modelling, typically with a limited range of knives and wooden shaping tools, but mainly using the fingers, allows the artist to take a more free and flexible approach. Small details that might be impractical to carve in stone, of hair or costume for example, can easily be accomplished in terracotta, and drapery can sometimes be made up of thin sheets of clay that make it much easier to achieve a realistic effect.

Reusable mold-making techniques may be used for production of many identical pieces. Compared to marble sculpture and other stonework, the finished product is far lighter and may be further painted and glazed to produce objects with color or durable simulations of metal patina. Robust durable works for outdoor use require greater thickness and so will be heavier, with more care needed in the drying of the unfinished piece to prevent cracking as the material shrinks. Structural considerations are similar to those required for stone sculpture; there is a limit on the stress that can be imposed on terracotta, and terracotta statues of unsupported standing figures are limited to well under life-size unless extra structural support is added. This is also because large figures are extremely difficult to fire, and surviving examples often show sagging or cracks. The Yixian figures were fired in several pieces, and have iron rods inside to hold the structure together.

History
Terracotta has been a medium for art since the Harappan civilization, although techniques used differed in each time period. In the Mauryan times, they were mainly figures of mother goddesses, indicating a fertility cult. Moulds were used for the face, whereas the body was hand-modelled. In the Shungan times, a single mould was used to make the entire figure and depending upon the baking time, the colour differed from red to light orange. The Satavahanas used two different moulds- one for the front and the other for the back and kept a piece of clay in each mould and joined them together, making some artefacts hollow from within. Some Satavahana terracotta artefacts also seem to have a thin strip of clay joining the two moulds. This technique may have been imported from the Romans and is seen nowhere else in the country.

Present
Contemporary centres for terracotta figurines include West Bengal, Bihar, Jharkhand, Rajasthan and Tamil Nadu. In Bishnupur, West Bengal, the terracotta pattern–panels on the temples are known for their intricate details. The Bankura Horse is also very famous and belongs to the Bengal school of terracotta. Madhya Pradesh is one of the most prominent production centres of terracotta art today. The tribes of the Bastar have a rich tradition. They make intricate designs and statues of animals and birds. Hand-painted clay and terracotta products are produced in Gujarat. The Aiyanar cult in Tamil Nadu is associated with life-size terracotta statues.

Traditional terracotta sculptures, mainly religious, also continue to be made. The demand for this craft is seasonal, reaching its peak during the harvest festival, when new pottery and votive idols are required. During the rest of the year, the makers rely on agriculture or some other means of income. The designs are often redundant as crafters apply similar reliefs and techniques for different subjects. Customers suggest subjects and uses for each piece. To sustain the legacy, the Indian Government has established the Sanskriti Museum of Indian Terracotta in New Delhi. The initiative encourages ongoing work in this medium through displays terracotta from different sub-continent regions and periods. In 2010, the India Post Service issued a stamp commemorating the craft which shows a terracotta doll from the craft museum.

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

title: Terracotta


text:
Traceability

Traceability is the capability to trace something. In some cases, it is interpreted as the ability to verify the history, location, or application of an item by means of documented recorded identification.

Other common definitions include the capability (and implementation) of keeping track of a given set or type of information to a given degree, or the ability to chronologically interrelate uniquely identifiable entities in a way that is verifiable.

Traceability is applicable to measurement, supply chain, software development, healthcare and security.

Measurement
The term measurement traceability or metrological traceability is used to refer to an unbroken chain of comparisons relating an instrument's measurements to a known standard. Calibration to a traceable standard can be used to determine an instrument's bias, precision, and accuracy. It may also be used to show a chain of custody - from current interpretation of evidence to the actual evidence in a legal context, or history of handling of any information.

In many countries, national standards for weights and measures are maintained by a National Metrological Institute (NMI) which provides the highest level of standards for the calibration / measurement traceability infrastructure in that country. Examples of government agencies include the National Physical Laboratory, UK (NPL) the National Institute of Standards and Technology (NIST) in the USA, the Physikalisch-Technische Bundesanstalt (PTB) in Germany, the Instituto Nazionale di Ricerca Metrologica (INRiM) in Italy, and the National Research Council of Canada (NRC). As defined by NIST, "Traceability of measurement requires the establishment of an unbroken chain of comparisons to stated references each with a stated uncertainty."

A clock providing  is traceable to a time standard such as Coordinated Universal Time or International Atomic Time. The Global Positioning System is a source of traceable time.

Supply chain
Within a product's supply chain, traceability may be both a regulatory and an ethical or environmental issue. Traceability is increasingly becoming a core criterion for sustainability efforts related to supply chains wherein knowing the producer, workers and other links stands as a necessary factor that underlies credible claims of social, economic, or environmental impacts. Environmentally friendly retailers may choose to make information regarding their supply chain freely available to customers, illustrating the fact that the products they sell are manufactured in factories with safe working conditions, by workers that earn a fair wage, using methods that do not damage the environment.

Materials
In regard to materials, traceability refers to the capability to associate a finished part with destructive test results performed on material from the same ingot with the same heat treatment, or to associate a finished part with results of a test performed on a sample from the same melt identified by the unique lot number of the material. Destructive tests typically include chemical composition and mechanical strength tests. A heat number is usually marked on the part or raw material which identifies the ingot it came from, and a lot number may identify the group of parts that experienced the same heat treatment (i.e., were in the same oven at the same time). Material traceability is important to the aerospace, nuclear, and process industry because they frequently make use of high strength materials that look identical to commercial low strength versions. In these industries, a part made of the wrong material is called "counterfeit", even if the substitution was accidental.

This same practice extends throughout industries using military hardware, including the fastener industry.

Logistics
In logistics, traceability refers to the capability for tracing goods along the distribution chain on a batch number or series number basis. Traceability is an important aspect for example in the automotive industry, where it makes recalls possible, or in the food industry where it contributes to food safety.

The international standards organization EPCglobal under GS1 has ratified the EPCglobal Network standards (especially the EPC Information Services EPCIS standard) which codify the syntax and semantics for supply chain events and the secure method for selectively sharing supply chain events with trading partners. These standards for traceability have been used in successful deployments in many industries and there are now a wide range of products that are certified as being compatible with these standards.

Food processing
In food processing (meat processing, fresh produce processing), the term traceability refers to the recording through means of barcodes or RFID tags and other tracking media, all movement of product and steps within the production process. One of the key reasons this is such a critical point is in instances where an issue of contamination arises, and a recall is required. Where traceability has been closely adhered to, it is possible to identify, by precise date/time and exact location which goods must be recalled, and which are safe, potentially saving millions of dollars in the recall process. Traceability within the food processing industry is also utilised to identify key high production and quality areas of a business, versus those of low return, and where points in the production process may be improved.

In food processing software, traceability systems imply the use of a unique piece of data (e.g., order date/time or a serialized sequence number, generally through the use of a barcode / RFID) which can be traced through the entire production flow, linking all sections of the business, including suppliers and future sales through the supply chain. Messages and files at any point in the system can then be audited for correctness and completeness, using the traceability software to find the particular transaction and/or product within the supply chain.

In food systems, ISO 22005, as part of the ISO 22000 family of standards, has been developed to define the principles for food traceability and specifies the basic requirements for the design and implementation of a feed and food traceability system. It can be applied by an organization operating at any step in the feed and food chain.

The European Union's General Food Law came into force in 2002, making traceability compulsory for food and feed operators and requiring those businesses to implement traceability systems. The EU introduced its Trade Control and Expert System, or TRACES, in April 2004. The system provides a central database to track movement of animals within the EU and from third countries.

Australia has its National Livestock Identification System to keep track of livestock from birth to slaughterhouse.

India has started taking initiatives for setting up traceability systems at Government and Corporate levels. Grapenet, an initiative by Agriculture and Processed Food Products Export Development Authority (APEDA), Ministry of Commerce, Government of India is an example in this direction. GrapeNet is an internet based traceability software system for monitoring fresh grapes exported from India to the European Union. GrapeNet is a first of its kind initiative in India that has put in place an end-to-end system for monitoring pesticide residue, achieve product standardization and facilitate tracing back from pallets to the farm of the Indian grower, through the various stages of sampling, testing, certification and packing. Grapenet won the National Award (Gold), in the winners announced for the best e-Governance initiatives undertaken in India in 2007.

The Directorate Generate Foreign Trade (DGFT), Government of India, through its notification dated 04.02.2009 relating to Amendment in Foreign Trade Policy (RE2008)has mandated that Export to the European Union is permitted subject to registration with APEDA, thereby making Grapenet mandatory for all exports of fresh grapes from India to Europe.

Uruguay has also designed a system called "Traceability & Electronic Information System of the Beef Industry".

Forest products
Within the context of supporting legal and sustainable forest supply chains, traceability has emerged in the last decade as a new tool to verify claims and assure buyers about the source of their materials. Mostly led out of Europe, and targeting countries where illegal logging has been a key problem (FLEGT countries), timber tracking is now part of daily business for many enterprises and jurisdictions. Full traceability offers advantages for multiple partners along the supply chain beyond certification systems, including:

 * Mechanism to comply with local and international policies and regulations.
 * Reducing the risk of illegal or non-compliant material entering the supply chains.
 * Providing coordination between authorities and relevant bodies.
 * Allowing automatic reconciliation of batches and volumes available.
 * Offering a method of stock control and monitoring.
 * Triggering real-time alerts of non-compliance.
 * Reducing likelihood of recording errors.
 * Improving effectiveness and efficiency.
 * Increasing transparency.
 * Promoting company integrity.

A number of timber tracking companies are in operation to service global demand.

Enhanced traceability ensures that the supply chain data is 100% accurate from the forest to the point of export. Nowadays, there are techniques to predict geographical provenance of wood and contribute to the fight against illegal logging.

Systems and software development
In systems and software development, the term traceability (or requirements traceability) refers to the ability to link product requirements back to stakeholders' rationales and forward to corresponding design artifacts, code, and test cases. Traceability supports numerous software engineering activities such as change impact analysis, compliance verification or traceback of code, regression test selection, and requirements validation. It is usually accomplished in the form of a matrix created for the verification and validation of the project. Unfortunately, the practice of constructing and maintaining a requirements trace matrix (RTM) can be very arduous and over time the traces tend to erode into an inaccurate state unless date/time stamped. Alternate automated approaches for generating traces using information retrieval methods have been developed.

In transaction processing software, traceability implies use of a unique piece of data (e.g., order date/time or a serialized sequence number) which can be traced through the entire software flow of all relevant application programs. Messages and files at any point in the system can then be audited for correctness and completeness, using the traceability key to find the particular transaction. This is also sometimes referred to as the transaction footprint.

Health care
Patient safety during healthcare service plays an important role in preventing delayed recovery or even mortality, by increasing and improving the quality of life of citizens, and is considered an indicator of the quality status of health services Maintaining patient safety is a complex task and involves factors inherent to the environment and human actions. New technologies facilitate the traceability tools of patients and medications. This is particularly relevant for drugs that are considered high risk and cost.

Recent research in the healthcare industry emphasizes the significant impact of Blockchain Technology (BCT) on improving the performance of healthcare supply chain management. It highlights BCT's role in enhancing transparency, data immutability, and efficient management, leading to better cooperation among stakeholders and effective risk mitigation in healthcare services.

The World Health Organization has recognized the importance of traceability for medical products of human origin (MPHO) and urged member states "to encourage the implementation of globally consistent coding systems to facilitate national and international traceability".

Security and crime-fighting

To prevent theft, and assist in locating stolen objects, goods may be marked indelibly or undetectably so that they may be determined to be stolen, and in some cases identified. For example, it is sometimes arranged that stolen banknotes are marked with indelible dye to show that they are stolen; they can be identified by their unique serial numbers. Announcing that cash machines were fitted with sprayers of SmartWater, an invisible gel detectable for years, to mark thieves and their clothing when breaking into or tampering with the machine was found in a 2016 pilot scheme to reduce theft by 90%.

title: Traceability


text:
User talk:Jakd

...Talented.Typographers.Take.Time.to.Tighten.their.Type...

title: User talk:Jakd


text:
The Lord of the Rings: The Return of the King

The Lord of the Rings: The Return of the King is a 2003 epic high fantasy adventure film directed by Peter Jackson from a screenplay by Fran Walsh, Philippa Boyens, and Jackson. It is based on 1955's The Return of the King, the third volume of the novel The Lord of the Rings by J. R. R. Tolkien. The sequel to 2002's  The Lord of the Rings: The Two Towers, the film is the third installment in The Lord of the Rings trilogy. It features an ensemble cast including Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Bernard Hill, Billy Boyd, Dominic Monaghan, Orlando Bloom, Hugo Weaving, Miranda Otto, David Wenham, Karl Urban, John Noble, Andy Serkis, Ian Holm, and Sean Bean. Continuing the plot of the previous film, Frodo, Sam and, Gollum make their final way toward Mount Doom to destroy the One Ring, unaware of Gollum's true intentions, while Merry, Pippin, Gandalf, Aragorn, Legolas, Gimli and, their allies join forces against Sauron and his legions from Mordor.

The Return of the King was financed and distributed by American studio New Line Cinema, but filmed and edited entirely in Jackson's native New Zealand, concurrently with the other two parts of the trilogy. It premiered on 1 December 2003 at the Embassy Theatre in Wellington and was then released on 17 December 2003 in the US and 18 December 2003 in New Zealand. The film was acclaimed by critics and audiences, who considered it a landmark in filmmaking and the fantasy film genre, and a satisfying conclusion to the trilogy, with praise for the visual effects, performances, action sequences, direction, screenplay, musical score, costume design, emotional depth, scope, and story. It grossed over $1.1 billion worldwide, becoming the highest-grossing film of 2003, the second-highest-grossing film of all time during its run, and the highest-grossing film ever released by New Line Cinema.

Like the previous films in the trilogy, The Return of the King is widely recognised as one of the greatest and most influential films ever made. The film received numerous accolades; at the 76th Academy Awards, it won all eleven awards for which it was nominated, including Best Picture, the first fantasy film to do so and tying with 1959's Ben-Hur and 1997's Titanic as the movie with the most Academy Award wins. It also became the second film series whose entries have all won Best Visual Effects, after the original Star Wars trilogy.

Plot
The hobbit, Sméagol, is fishing with his cousin Déagol, who discovers the One Ring in the river. The Ring immediately ensnares Sméagol's mind, and he kills his cousin for it. Increasingly corrupted physically and mentally, he retreats into the Misty Mountains and becomes known as Gollum.

Centuries later, during the War of the Ring, Gandalf leads Aragorn, Legolas, Gimli, and King Théoden of Rohan to Isengard, where they reunite with Merry and Pippin. Gandalf retrieves Saruman's palantír, and the group returns to Edoras to celebrate their victory at Helm's Deep. Pippin looks into the palantír, seeing Sauron and a burning tree. Gandalf deduces that the enemy plans to attack Gondor's capital Minas Tirith; he rides there to warn Gondor's corrupt steward Denethor. Pippin, who accompanies him, swears fealty to Denethor, whose now-dead heir Boromir had saved his life; on Gandalf's instruction, Pippin triggers the lighting of the beacons, which call for help from Rohan.

Frodo, who carries the Ring, and Sam continue their journey towards Mordor, unaware that Gollum, now their guide, plans to betray them and take the Ring for himself. The trio witness the Witch-king of Angmar, lord of the nine Nazgûl, setting off towards Gondor with his army of Orcs. Gollum conspires to frame Sam for eating food supplies and desiring the Ring; influenced by the growing power of the Ring, Frodo is taken in by the deception, and orders Sam to go home. Gollum then tricks Frodo into venturing into the lair of the giant spider Shelob. Frodo narrowly escapes and confronts Gollum, who falls down a chasm after a scuffle. Shelob discovers, paralyses, and binds Frodo, but is wounded and driven away by a returning Sam, who, mourning Frodo's apparent death, takes the Ring. Sam realizes his mistake when Orcs take Frodo captive, but manages to rescue Frodo as the Orcs fight among themselves. Now inside Mordor, the hobbits continue towards Mount Doom.

As King Théoden gathers his army, Elrond tells Aragorn that Arwen is dying, having refused to leave Middle-earth. Elrond gives Aragorn Andúril, reforged from the shards of King Elendil's sword Narsil, and urges him to commit to claiming Gondor's throne, to which he is heir. Joined by Legolas and Gimli, Aragorn travels the Paths of the Dead, and pledges to release the ghosts there from their curse should they come to Gondor's aid. Meanwhile, Faramir, who was earlier overwhelmed and driven back to Minas Tirith by the Witch-king, is gravely wounded in a suicide charge; believing his son has died, Denethor falls into madness. Gandalf marshals the defenders, but the huge Orc army breaks into the city. Denethor attempts to burn himself and Faramir on a pyre, but Pippin alerts Gandalf and they rescue Faramir. Denethor, set ablaze and in agony, jumps to his death.

Théoden arrives and leads his army against the Orcs. Despite initial success in the ensuing battle, they are decimated by the Oliphaunt-riding Haradrim and the Witch-king mortally wounds Théoden; however, his niece Éowyn slays the Witch-king with Merry's help. Théoden dies in his niece's arms. Aragorn then arrives with his Army of the Dead, who overcome Sauron's forces. Their oath is fulfilled and the Dead are released from their curse. Aragorn decides to march on Mordor to distract Sauron from Frodo, now extremely weak, and Sam; all of Sauron's remaining forces march to meet Aragorn's diversion, allowing the hobbits to reach Mount Doom. Gollum, who survived his earlier fall, attacks them, but Frodo manages to enter the mountain. There, he succumbs to the Ring's power, putting it on his finger, but Gollum manages to bite off his finger and reclaim it, leading to a scuffle before they stumble off the ledge. Frodo manages to cling on and Sam pulls him up as Gollum falls to his death in the lava, taking the ring with him, vanquishing Sauron once and for all. Aragorn's army emerges victorious as its enemies and the lands of Mordor collapse into the earth and Mount Doom erupts, with Frodo and Sam narrowly escaping.

Gandalf rescues the hobbits with the help of eagles, and the surviving Fellowship is happily reunited in Minas Tirith. Aragorn is crowned King of Gondor and marries Arwen; they and others bow to the hobbits. The hobbits return home to the Shire, where Sam marries Rosie Cotton. Four years later, Frodo, still plagued by the pain of his wound inflicted by the Witch-king and suffering from trauma, departs Middle-earth for the Undying Lands with his uncle Bilbo, Gandalf, and the Elves. He leaves Sam the Red Book of Westmarch, which details their adventures. Sam returns to the Shire, where he embraces Rosie and their children.

Cast
Like the preceding films in the trilogy, The Return of the King has an ensemble cast, and some of the cast and their respective characters include:

 * Elijah Wood as Frodo Baggins: A young hobbit who continues his quest to destroy the Ring, which continues to weaken and tempt him.
 * Ian McKellen as Gandalf the White: An Istari wizard who travels to aid the Men of Gondor, acting as a general at the Siege of Gondor.
 * Viggo Mortensen as Aragorn: A Dúnedain ranger who must finally face his destiny as King of Gondor.
 * Sean Astin as Samwise Gamgee: Better known as Sam, Frodo's loyal hobbit gardener and companion.
 * Andy Serkis as Sméagol / Gollum: A wretched and treacherous creature who was once one of the river-folk (an extinct race of hobbits) and now guides Frodo and Sam into Mordor while seeking the Ring. The first scenes in the film portray him in his former life as Sméagol as well as his deterioration into Gollum.
 * Billy Boyd as Peregrin Took: Better known as Pippin, a hobbit who looks into the palantír and later becomes an esquire of Gondor.
 * Dominic Monaghan as Meriadoc Brandybuck: Better known as Merry, a cousin of Frodo's who becomes an esquire of Rohan.
 * John Rhys-Davies as Gimli: A dwarf warrior and companion to Aragorn along with Legolas.
 * Rhys-Davies also voices Treebeard: the ent leader.
 * Orlando Bloom as Legolas: An elven prince of Mirkwood and skilled archer who aids Aragorn in his quest to reclaim the throne.
 * Bernard Hill as Théoden: The King of Rohan who, after triumphing at Helm's Deep, is preparing his troops for the Battle of the Pelennor Fields.
 * Miranda Otto as Éowyn: Théoden's niece, who wishes to prove herself in battle and has fallen in love with Aragorn, who does not return her love. In the extended cut of the film, she finds love with Faramir when they are both residing in the Houses of Healing.
 * David Wenham as Faramir: A son of the Stewards of Gondor and head of the Gondorian Rangers defending Osgiliath, who seeks his father's love in vain.
 * Karl Urban as Éomer: Éowyn's brother, who serves as Chief Marshal of the Riders of Rohan and heir to his uncle's throne.
 * Hugo Weaving as Elrond: The Lord of Rivendell who must convince Aragorn to take up the throne.
 * Liv Tyler as Arwen: Elrond's daughter and Aragorn's true love, who gives up her immortal life to be with Aragorn.
 * Cate Blanchett as Galadriel: The Elven-Queen of Lothlórien who is aware the time of the elves is at an end.
 * John Noble as Denethor: The corrupt Steward of Gondor and father of Boromir and Faramir, whose grief over Boromir's death and despair over Mordor's superior numbers drive him into madness during the Siege of Gondor.
 * Ian Holm as Bilbo Baggins: Frodo's elderly uncle, who has rapidly aged after giving away the Ring.
 * Sean Bean as Boromir: Faramir's older brother and a fallen companion of Aragorn, who appears in a flashback of his death at the end of The Lord of the Rings: The Fellowship of the Ring and in the extended cut when his father has a hallucination.
 * Marton Csokas as Celeborn the Wise: The Elven-King of Lothlórien.
 * Lawrence Makoare as the Witch-king of Angmar: The lord of the Nazgûl, who leads Mordor's assault on Minas Tirith.
 * Makoare also plays Gothmog: An Orc commander, who is voiced by Craig Parker.
 * Thomas Robins as Déagol: Sméagol's cousin, who is killed by Sméagol, when the former finds the One Ring in the river they are fishing in.

 * The following appear only in the Extended Edition:

 * Christopher Lee as Saruman the White: An Istari wizard, formerly the head of the Istari Order and its White Council, who is now trapped by Treebeard until he is killed by his own servant, Gríma.
 * Brad Dourif as Gríma Wormtongue: Saruman's sycophantic, treacherous servant, who is shot by Legolas after stabbing his own master.
 * Bruce Spence as the Mouth of Sauron: Sauron's ambassador at the Black Gate.

There are cameos from Peter Jackson, Richard Taylor, Gino Acevedo, Rick Porras and Andrew Lesnie on the Corsair ship, although all of them but Jackson appear only in the Extended Edition. Jackson also has another unofficial cameo, as Sam's hand stepping into view when he confronts Shelob. Sean Astin's daughter played Sam and Rosie's older daughter Elanor in the last scene of the film; in the same scene, Sarah McLeod's daughter plays their younger son. Jackson's children also cameo as Gondorian extras, while Christian Rivers played a Gondorian soldier guarding the Beacon Pippin lights, and is later seen wounded. Royd Tolkien cameos as a Ranger in Osgiliath, while in the Extended Edition Howard Shore appears as a celebrating soldier at Edoras. Additionally, four of the designers of The Lord of the Rings Strategy Battle Game are featured as Rohirrim at the Pelennor. At the end of the film, during the closing credits, each cast member gets a sketched portrait morphed with the real photograph beside their name, which were sketched by Alan Lee, an idea suggested by Ian McKellen.

Comparison to the source material
As with all of Peter Jackson's movie adaptions of The Lord of the Rings, many events, timelines, and geographic distances are compressed or simplified. Most major events from the books are included, though some are significantly altered. Some events and details seen in the film are not found in the books.

The film version of The Return of the King contains major scenes from the middle of Tolkien's The Two Towers, such as the attack by Shelob and the palantír subplot, as Jackson realigned events of the film to fit the timeline from the book's Appendices, rather than the interlaced order of the main narrative. However, the plot of the second half of Book III is either completely omitted (chapter "The Road to Isengard") or only shown in one scene (chapter "The Voice of Saruman"). Saruman's murder by Gríma (seen only in the Extended Edition) is moved into the Isengard visit because of the cutting of the Scouring of the Shire.

The basis of Elrond and Arwen's subplot arguing about Arwen's fate is derived from the Appendices, but it is largely extended in the film, as is Arwen and Elrond's relevance to the story.

In the film, overwhelming grief over the death of Boromir has driven Denethor to despair, and he has given up any hope of defeating Sauron before Gandalf arrives in Minas Tirith. Thus, the muster of Gondor is absent from the film. In the book, he has already ordered the lighting of the beacons before Gandalf's arrival, while he refuses to light them in the film, and the sequence where Pippin secretly lights them himself was invented for the movie. The film only hints at Denethor's use of the palantír which drives him mad, information revealed in the Pyre scene, which includes Shadowfax and is more violent than the book. Aware of the very long distance between Rath Dínen and the front of the out-thrust battlement, Jackson has Denethor jump off the Citadel in addition to burning himself on the Pyre, one of the earliest changes.

The muster of Rohan, and the subplot in which the Rohirrim are aided by the primitive Drúedain during their journey to the besieged Gondor are excised from the film. The Red Arrow brought by a messenger from Gondor to ask for Rohan's aid is absent. Éowyn's presence on the battlefield is unknown to the reader until she takes off her helmet, but in the film the audience is aware, as it would have been difficult to have Miranda Otto playing a man. When hope seems lost, Gandalf comforts Pippin by telling him of the Undying Lands, based on a descriptive passage in the book's final chapter.

The film altered the circumstances of Théoden's death; his death speech, in which he names Éomer the new king in the book, is trimmed and delivered to Éowyn instead of Merry, with an earlier scene in the Extended Edition even implying that Éowyn is next in line for the throne. Théoden's rallying speech ("To death!") before the initial charge in the film is spoken by Éomer in the book when he believes that both Théoden and Éowyn have been killed in combat with the Witch King.

The Extended Edition presents shortened scenes from the book's chapters in the Houses of Healing: The Warden, the talk of Athelas, the comical conversation with the herb-master, the woman Ioreth and her saying about a King's healing hands and the subsequent realising of Aragorn's true identity are left out altogether. The romance that develops between Éowyn and Faramir during their recoveries in the Houses of Healing is largely cut, presumably to keep the focus on Aragorn and Arwen; the subplot is briefly referenced in the Extended Edition, with a scene where the two hold hands.

Gollum's fall into the lava of Mount Doom was rewritten for the film, as the writers felt that simply having Gollum slip and fall was anticlimactic. Originally, an even greater deviation was planned: Frodo would heroically push Gollum over the ledge to destroy him and the Ring, but the production team realised that that would make it look as if Frodo was murdering Gollum. Instead, they had Frodo and Gollum struggle for possession of the Ring.

In addition to the absent footage from the film are the other major attacks by Sauron on various regions of Middle-earth, referenced only briefly in the main text of The Return of the King, and expanded upon in the Appendices; the invasion of Rohan by the Orcs of Moria, the attacks on Lothlórien and the Woodland Realm of Thranduil by the forces of Dol Guldur, and the attack on Dale and the Lonely Mountain by a force of Easterlings, events hinted at in a comment by Legolas in the book.

There are several changes in the Battle of the Black Gate: Merry is not present there in the book, Pippin does not kill a troll as he does in the novel (instead, Aragorn fights one), the eagles fight and defeat some of the mounted Nazgûl, and Aragorn kills the Mouth of Sauron in the extended edition of the film but not in the book.

Although the film runs for another approximately 20 minutes after the climactic Downfall of Barad-dûr, many following events from the book are omitted or altered in the film. Aragorn's coronation takes place in form of a great ceremony in the Citadel of Minas Tirith, opposed to the book, where Aragorn is crowned in his tent on the Pelennor Fields before entering the city. Omitted entirely are the camp at the Field of Cormallen, Aragorn's business in Minas Tirith, Aragorn and Arwen's wedding, Galadriel and Celeborn being present at the ceremonies and their subsequent travelling along with the company, Théoden's funeral at Edoras, the complete journey back to the Shire with stops at Rivendell and Bree, and the Scouring of the Shire, which was seen by the screenwriters as anticlimactic. The film also left out the character epilogues:

For example, Samwise Gamgee stayed in the Shire when Gandalf and Frodo went to Valinor, during which time he would make changes and additions to the Red Book of Westmarch, which he inherited from Frodo, just as in the film, in which he would add a section titled "Herb Lore of The Shire", which was a section on Pipeweed, the plant Hobbits and other folk of Middle Earth, like Gandalf, would smoke through pipes, as well as various poems. Shortly after his contribution to the Red Book, he served seven consecutive seven year terms as mayor of the Shire, during which he had children with Rosie Cotton who each took the last name of "Gardner" after their father's planting of the Mallorn Tree that replaced the Party Tree, which was destroyed during the Scouring. He did, however, go to Valinor after Rosie died, and before he did, he gave the Red Book to Elinor, one of his daughters.

The books also expanded on Aragorn's time as king of Gondor and Arnor post-reuniting, and reveals that Arwen accepted a life as a mortal, and died shortly after Aragorn.

Merry and Pippin also returned to the Shire, but unlike Sam and Frodo, they didn't eventually journey to Valinor. Merry inherited his father's title as "Master of Buckland" and despite the perils he and Pippin endured that almost cost them their lives, Merry still had his adventurous spirit. He also reviewed many gifts from Eomer and his sister, Eowyn, and helped the Hobbits learn more about lands beyond the Shire through scholarly articles. He even returned to Rivendell multiple times. When he and Pippin died, they were buried beside their friends, Aragorn and Arwen in Minas Tirith, where they spent some of their final days after a stint in Rohan.

Legolas and Gimli make and keep promises in the books to show the other important places to them: First, Gimli shows Legolas the caverns of Aglarond, which Legolas is stunned by, then they walk in the Fangorn Forest, where they then make their way to Isengard where they bid farewell to the Fellowship, after which, they would each go back to their own lands, with Gimli even founding a Dwarven colony in the Glittering Caves. They would, however, reunite to help with the rebuilding and improving of Minas Tirith. They would be the last of the Fellowship to sail for Valinor, departing after the death of their friend Aragorn, Legolas would build a ship for him and Gimli to sail to Valinor.

Lastly, Frodo would serve as Deputy Mayor of The Shire until a wound caused by a stab from the Witch King which flared up every year on the anniversary of said stabbing forced him to resign, after which, he would sail to Valinor to receive healing and peace for the rest of his days.

Production
The production of The Lord of the Rings series was the first where three separate entries were written and shot simultaneously (excluding pick up shoots). Jackson found The Return of the King the easiest of the films to make, because it contained the climax of the story. The Return of the King was originally the second of two planned films under Miramax from January 1997 to August 1998, and more or less in its finished structure as the first film was to end with the Battle of Helm's Deep in The Two Towers. Filming took place under multiple units across New Zealand, between 11 October 1999 and 22 December 2000, with pick up shoots for six weeks in 2003 before the film's release.

Design

Jackson's Middle-earth was primarily designed by Alan Lee and John Howe, who had earlier illustrated editions of Tolkien's books. It was created by Weta Workshop, who handled all the trilogy's weapons, armour, miniatures, prosthetics, and creatures; the Art Department built the sets. Richard Taylor headed Weta, while Grant Major and Dan Hennah organised the planning and building.

The city of Minas Tirith, glimpsed briefly in both the previous two films, is seen fully in this film, and with it the Gondorian civilisation. The enormous soundstage was built at Dry Creek Quarry, outside Wellington, from the Helm's Deep set. That set's gate became Minas Tirith's second, while the Hornburg exterior became that of the Extended Edition's scene where Gandalf confronts the Witch-king. New structures included the 8m tall Gate, with broken and unbroken versions, with a working opening and closing mechanism, with its engravings inspired by the Baptistry of San Giovanni. There were also four levels of streets with heraldic motifs for every house, as inspired by Siena.

The Citadel's exterior was in the Stone Street Studios backlot, using forced perspective. It contained the withered White Tree, built from polystyrene by Brian Massey and the Greens Department with real branches, influenced by ancient and gnarled Lebanese olive trees. The interior was within a three-storey former factory in Wellington, its colours influenced by Charlemagne's Chapel, with a throne for Denethor carved from stone, and polystyrene statues of past kings. The Gondorian armour is designed to represent an evolution from the Númenóreans of the first film's prologue, with a simplified sea bird motif. 16th-century Italian and German armour served as inspiration, while civilians wear silver and blacks as designed by Ngila Dickson, continuing an ancient/medieval Mediterranean Basin look.

Minas Morgul, the Staircase and Tower of Cirith Ungol as well as Shelob's Lair were designed by Howe, with the Morgul road using forced perspective into a bluescreened miniature. Howe's design of Minas Morgul was inspired from the experience of having a wisdom tooth pulled out: in the same way, the Orcs have put their twisted designs on to a former Gondorian city. Cirith Ungol was based on Tolkien's design, but when Richard Taylor felt it as "boring", it was redesigned with more tipping angles. The interior set, like Minas Tirith, was built as a few multiple levels that numerous camera takes would suggest a larger structure.

The third film introduces the enormous spider Shelob. Shelob was designed in 1999, with the body based on a tunnelweb spider and the head with numerous growths selected by Peter Jackson's children from one of many sculpts. Jackson himself took great joy in planning the sequence, being an arachnophobe himself. Shelob's Lair was inspired by sandstone and sculpted from the existing Caverns of Isengard set.

The Return of the King also brings into focus the Dead Men of Dunharrow and the evil Haradrim from the south of Middle-earth, men who ride the mûmakil. The Dead Men have a Celtic influence, as well as lines and symmetry to reflect their morbid state, while their underground city is influenced by Petra. The Haradrim were highly influenced by African culture, until Philippa Boyens expressed concern over the possibility of offensiveness, so the finished characters instead bear influence from Kiribati, in terms of weaving armour from bamboo, and the Aztecs, in use of jewellery. Also built was a single dead mûmak. Other minor cultures include the Corsairs, with an exotic, swarthy look, and the Grey Havens, Elven structures adapted to stone, with influence from J. M. W. Turner paintings.

Principal photography
The Return of the King was shot during 2000, though Astin's coverage from Gollum's attempt to separate Frodo and Sam was filmed on 24 November 1999, when floods in Queenstown interrupted the focus on The Fellowship of the Ring. Some of the earliest scenes shot for the film were in fact shot last. Hobbiton, home of the Hobbits, was shot in January 2000 with early scenes from The Fellowship of the Ring, with the exterior shot at a Matamata farm, while interior scenes were shot at Stone Street Studios in Wellington, shared with the Grey Havens sequence. Due to the high emotions of filming the scene, the cast were in despair when they were required to shoot it three times, due to a continuity flaw in Sean Astin's costume, and then negatives producing out-of-focus reels. Also shared with the previous films was the Rivendell interior in May.

The Battle of the Black Gate was filmed in April at the Rangipo Desert, a former minefield. New Zealand soldiers were hired as extras while guides were on the lookout for unexploded mines. Also a cause for concern were Monaghan and Boyd's scale doubles during a charge sequence. In the meantime, Wood, Astin and Serkis filmed at Mount Ruapehu for the Mount Doom exteriors. In particular, they spent two hours shooting Sam lifting Frodo on to his back with cross-camera coverage.

Scenes shot in June were the Paths of the Dead across various locations, including Putangirua Pinnacles. In July the crew shot some Shelob scenes, and in August and September time was spent on the scenes in Isengard. Monaghan and Boyd tried numerous takes of their entrance, stressing the word "weed" as they smoked pipe-weed. Christopher Lee spent his part of his scene mostly alone, though McKellen and Hill arrived on the first day for a few lines to help.

Edoras exteriors were shot in October. The Ride of the Rohirrim, where Théoden leads the charge into the Orc army, was filmed in Twizel with 150 extras on horseback. The Battle of the Pelennor Fields has more extensive use of computer-generated imagery, in contrast to the more extensive use of live action in the Battle of Helm's Deep in the second film. Also filmed were the attempts by Faramir to recapture Osgiliath, as were scenes in the city itself. At this point production was very hectic, with Jackson moving around ten units per day, and production finally wrapped on the Minas Tirith sets, as well as second units shooting parts of the siege. Just as the Hobbit actors' first scene was hiding from a Ringwraith under a tree, their last scene was the bluescreened reaction shot of the inhabitants of Minas Tirith bowing to them.

Pick-ups
The 2003 pick-ups were filmed in the Wellington studio car park, with many parts of sets and blue-screens used to finish off scenes, which the design team had to work 24 hours to get the right sets ready for a particular day. The shoot continued for two months, and became an emotional time of farewells for the cast and crew. The film has the most extensive list of re-shoots given for the trilogy. Jackson took his time to re-shoot Aragorn's coronation, rushed into a single day under the supervision of second unit director Geoff Murphy on 21 December 2000. Jackson also re-shot scenes in and around Mount Doom, and Théoden's death, right after Bernard Hill was meant to wrap.

There was also the new character of Gothmog. This was a major new design addition for the film, as Jackson felt the Mordor Orcs were "pathetic" compared to the Uruk-hai of the second film after watching assembly cuts, and thus Weta Workshop created grotesque new "über Orcs" as antagonists for the audience to focus on. Christian Rivers also redesigned the Witch-king and all of his scenes were re-shot, because of confusion from non-readers over whether or not Sauron was on the battlefield.

With the positive response to Bloom, Legolas was given a fight with a mûmak, and Howard Shore also appeared in a cameo during Legolas and Gimli's drinking game at Edoras. The final scenes shot were Aragorn escaping the Skull avalanche, and Frodo finishing his book. The cast also received various props associated with their characters, although John Rhys-Davies burned his final Gimli prosthetic. Viggo Mortensen headbutted the stunt team goodbye. Pick-ups ended on 27 June 2003.

Scenes shot afterwards included various live-action shots of Riders for the Battle of the Pelennor Fields and a reaction shot of Serkis as Gollum finally realises Frodo intends to destroy the Ring, shot in Jackson's house. For the Extended DVD, in March 2004 Jackson created a few shots of skulls rolling over for the avalanche scene; this was the final piece of footage ever shot for the trilogy, and Jackson noted that it must be the first time a director had shot scenes for a film after it had already won the Oscar.

Editing
Post-production began in November 2002, with the completion of the 4½ hour assembly cut of the film that Annie Collins had been completing over 2001 and 2002, from 4-hour dailies. For example, Théoden leading the charge went from 150 minutes of takes to a finished 90 seconds. Jackson reunited with longtime collaborator Jamie Selkirk to edit the final film. Like The Two Towers, they would have to deal with multiple storylines, and Jackson paid attention to each storyline at a time before deciding where to intercut. Most importantly they spent three weeks working on the last 45 minutes of the film, for appropriate intercutting and leaving out scenes such as the Mouth of Sauron, and the fates of characters like Legolas, Gimli, Éowyn and Faramir. The film inherited scenes originally planned to go into the second film, including the reforging of Narsil, Gollum's backstory, and Saruman's exit. But the Saruman scene posed a structural problem: killing off the second film's villain when the plot has Sauron as the main villain. Despite pick-ups and dubs, the scene was cut, causing controversy with fans and Saruman actor Christopher Lee, as well as a petition to restore the scene. Lee nonetheless contributed to the DVDs and was at the Copenhagen premiere, although he said he would never understand the reason for the cut and his relationship with Jackson was chilly. They would, however, later reconcile upon Lee's casting in Jackson's Hobbit films. Jackson only had a lock on 5 out of 10 reels, and had to churn out 3 reels in 3 weeks to help finish the film. It was finally completed on 12 November 2003. Jackson never had a chance to view the film in full due to the hectic schedule, and only saw the film from beginning to end on 1 December at the Wellington premiere; according to Elijah Wood, his response was "yup, it's good, pretty good".

Visual effects
The Return of the King contains 1,489 visual effect shots, nearly three times the number from the first film and almost twice that of the second. As with the two previous films, Jim Rygiel served as the visual effects supervisor. Visual effects work began with Alan Lee and Mark Lewis compositing various photographs of New Zealand landscape to create the digital arena of the Pelennor Fields in November 2002. Jackson and Christian Rivers used computers to plan the enormous battle up until February 2003, when the shots were shown to Weta Digital. To their astonishment, 60 planned shots had gone up to 250, and 50,000 characters were now 200,000. Nevertheless, they pressed on, soon delivering 100 shots a week, 20 a day, and as the deadline neared within the last two months, often working until 2 am.

For the battle, they recorded 450 motions for the MASSIVE digital horses (though deaths were animated), and also had to deal with late additions in the film, such as Trolls bursting through Minas Tirith's gates as well as the creatures that pull Grond to the gate, and redoing a shot of two mûmakil Éomer takes down that had originally taken six months in two days. On a similar note of digital creatures, Shelob's head sculpture was scanned by a Canadian company for 10 times more detail than Weta had previously been able to capture.

Like the previous films, there are also extensive morphs between digital doubles for the actors. This time, there was Sam falling off Shelob, where the morph takes place as Astin hits the ground. Legolas attacking a mûmak required numerous transitions to and fro, and Gollum's shots of him having recovered the One Ring and falling into the Crack of Doom were fully animated. For the latter scene, as well as the scene in which Mount Doom erupts and Frodo and Sam escape from the volcano, the help of the company Next Limit Technologies and their software RealFlow was required to simulate the lava. The King of the Dead is played by an actor in prosthetics, and his head occasionally morphs to a more skull-like digital version, depending on the character's mood. The Mouth of Sauron also had his mouth enlarged 200% for unsettling effect.

The Return of the King also has practical effects. In the Pyre of Denethor sequence, as the Steward of Gondor throws Pippin out of the Tomb, John Noble threw a size double named Fon onto a prostrate Billy Boyd, who immediately pushed his head into camera to complete the illusion. A few burning torches were also reflected off a plate of glass and into the camera for when Gandalf's horse Shadowfax kicks Denethor onto the pyre. Because of Jackson's requirement for complete representation of his fantasy world, numerous miniatures were built, such as 1:72 scale miniature of Minas Tirith, which rises 7m high and is 6.5m in diameter. 1:14 scale sections of the city were also required, and the Extended Edition scene of the collapsing City of the Dead has 80,000 small skulls, amounting in total to a single cubic meter. The miniatures team concluded in November with the Black Gate, after 1000 days of shooting, and the final digital effects shot done was the Ring's destruction, on 25 November.

Sound effects
The Sound department spent the early part of the year searching for the right sounds. A Tasmanian devil was used to create Shelob's shriek, which in turn gave inspiration for Weta's animators, while the mûmakil is the beginning and end of a lion roar. Human screams and a donkey screech were mixed into Sauron's fall and broken glass was used for the collapsing sounds. For missile trading during Minas Tirith's siege, construction workers dropped actual 2 ton stone blocks previously lifted by a construction crane. Mixing began at a new studio on 15 August, although unfinished building work caused some annoyances. The mixers finished on 15 November, after three months of non-stop work.

Score
The music was composed by Howard Shore, who previously composed the first two parts of the trilogy. Shore watched the assembly cut of the film, and had to write seven minutes of music per day to keep up with the schedule. The score sees the full introduction of the Gondor theme, originally heard during Boromir's speeches at the Council of Elrond in The Fellowship of the Ring and at Osgiliath in The Two Towers' Extended Edition. Shore also used the Gondor theme with the new ascending coda (which is unique to this film) in his score for the trailer of the film.

The score features the London Philharmonic Orchestra, London Voices, the London Oratory School Schola and featured vocal soloists. The score is the most expansive of the three: scoring effectively the entire movie length, not including additional music written for the trailer and various alternate versions released to the public. It also uses the biggest forces in the series: sections of the score call for two sets of timpani, eight trumpets (and possibly a similar increase in the size of the horn, trombone and tuba section, as well), 85 singers in the mixed choir with additional players for all-male and all-female sections, over fifty in the boy choir and many instrumentalist "bands" playing Celtic and eastern instruments such as tin whistle or pan flute, on stage or off of it. One piece of music required an instrument invented and crafted especially for the film: a fiddle with four pairs of strings instead of single strings.

Actors Billy Boyd, Viggo Mortensen and Liv Tyler also contributed to the film's music. Boyd sings on screen as Faramir charges towards Osgiliath, Mortensen sings on screen as he is crowned King, and in the Extended Edition Tyler sings as Aragorn heals Éowyn.

Renée Fleming, Ben Del Maestro, Sissel Kyrkjebø and James Galway also contribute to the soundtrack as featured soloists. Fleming sings as Arwen has a vision of her son and when Gollum recovers the One Ring. Del Maestro sings when Gandalf lights his staff to save fleeing Gondorian soldiers from Osgiliath as the Nazgûl attack and as the eagles arrive at the Black Gates. Galway plays the flute and whistle as Frodo and Sam climb Mount Doom and as they return to the shire. Sissel sings "Asea Aranion", which was originally meant to score the Houses of Healing scene. The end title song, "Into the West", was composed by Shore with lyrics by Fran Walsh. Annie Lennox (formerly of Eurythmics) performed it and also received songwriting credit. The song was partially inspired by the premature death from cancer of a young New Zealand filmmaker named Cameron Duncan who had befriended Peter Jackson.

Theatrical
After two years of attention and acclaim since the release of The Fellowship of the Ring, audience and critical anticipation for the final entry was extremely high. The world premiere was held in Wellington's Embassy Theatre, on 1 December 2003, and was attended by the director and many of the stars. It was estimated that over 100,000 people lined the streets, more than a quarter of the city's population.

Home media
The theatrical edition of the film was released on VHS and DVD on 25 May 2004. The DVD was a 2-disc set with extras on the second disc. The theatrical DVD sets for the two previous films were released eight months after the films were released, but Return of the King's set was completed in five because it did not have to market a sequel (the previous films had to wait for footage of their sequels to become available for a ten-minute preview). However, it contained a seven-minute trailer of the entire trilogy.

The Return of the King followed the precedent set by its predecessors by releasing an Extended Edition (251 minutes) on 14 December 2004 in the UK and US, with new editing and added special effects and music, along with four commentaries and six hours of supplementary material. The final ten minutes comprises a listing of the charter members of the official fan club who had paid for three-year charter membership.

A collectors' box set was also released, which included the Extended Set plus a sculpture of Minas Tirith and a bonus 50-minute music documentary DVD, Howard Shore: Creating The Lord of the Rings Symphony: A Composer's Journey Through Middle-earth. The DVD has a DTS-ES soundtrack. The DVD also features two humorous Easter Eggs, one where Dominic Monaghan plays a German interviewer with Elijah Wood via satellite and another where Vince Vaughn and Ben Stiller attempt to convince Jackson to make a sequel, originally shown at the 2004 MTV Movie Awards. Both can be accessed via a Ring icon on the last page of both Disc 1 and 2's scene indexes. In August 2006, a Limited Edition of The Return of the King was released. This Limited Edition contains two discs; the first is a two-sided DVD containing both the Theatrical and Extended editions of the film. The second disc is a bonus disc that contains a new behind-the-scenes documentary.

The theatrical Blu-ray release was released in the United States on the sixth of April 2010, though only as part of the complete trilogy release disc. The individual Blu-ray disc of The Return of the King was released on the fourteenth of September 2010 with the same special features as the complete trilogy release, except there was no digital copy. The Extended Edition was released in the United States in June 2011. It has a runtime of 263 minutes.

The Return of the King was released in Ultra HD Blu-ray on 30 November 2020 in the United Kingdom and on 1 December 2020 in the United States, along with the other films of the trilogy, including both the theatrical and the extended editions of the films.

Box office
The Return of the King earned $377 million in the United States and Canada and $763.7 million in other countries for a worldwide total of $1.141 billion in its initial release. In the weekend of 20–22 February 2004, the film crossed the $1 billion mark, making it the second film in history to do so, after Titanic in 1998. Worldwide, it is the 27th highest-grossing film of all time when not adjusted for inflation, the highest-grossing film of 2003, the second highest-grossing film of the 2000s, the highest-grossing entry in The Lord of the Rings trilogy, and the highest-grossing film ever to be released by New Line Cinema. It held the record as Time Warner's highest-grossing film worldwide for eight years until it was surpassed by Harry Potter and the Deathly Hallows – Part 2 in 2011. Box Office Mojo estimates that the film had sold over 61 million tickets in the US in its initial theatrical run.

In the US and Canada, it is the 27th highest-grossing film, the highest-grossing 2003 film, and the highest-grossing entry in The Lord of the Rings trilogy. The film set an opening Wednesday record with $34 million. This record was first surpassed by Spider-Man 2 in 2004 and ranks as the seventh largest Wednesday opening. Additionally, it was ranked as the highest December opening day, holding that record for less than a decade before getting dethroned by The Hobbit: An Unexpected Journey in 2012. The film opened a day earlier for a midnight showing and accounted for about $8 million. This was nearly twice the first-day total of The Fellowship of the Ring — which earned $18.2 million on its opening day in 2001 — as well as a significant increase over The Two Towers — which earned $26.1 million on its debut in 2002. Part of the grosses came from the Trilogy Tuesday event, in which the Extended Editions of the two previous films were played on 16 December before the first midnight screening. For two years, The Return of the King would hold the record for having the highest midnight screenings gross until 2005 when it was given to Star Wars: Episode III – Revenge of the Sith. The film went on to make an opening weekend of $72.6 million making it the second-highest opening weekend for a New Line Cinema film, behind Austin Powers in Goldmember. In addition, it had the third largest opening weekend of that year, after The Matrix Reloaded and X2. With a total gross of $125.1 million, the film had the biggest five-day Wednesday opening of all time, surpassing the previous record held by Star Wars: Episode I – The Phantom Menace. The next year, this record would be beaten by Shrek 2. Its Friday-Sunday opening weekend was a record-high for December (first surpassed by I Am Legend). The film also set single-day records for Christmas Day and New Year's Day (both first surpassed by Meet the Fockers).

Outside the US and Canada, it is the 17th highest-grossing film, the highest-grossing 2003 film and the highest-grossing film of the series. On its first day (Wednesday, 17 December 2003), the film earned $23.5 million from 19 countries and it set an opening-weekend record outside the US and Canada with $125.9 million during the five-day weekend as a whole. The combined total gross increased to $250.1 million, making it the highest worldwide opening weekend at the time, knocking out The Matrix Revolutions. It set opening-day records in thirteen of them, including the United Kingdom, Germany, Austria, Belgium, the Netherlands, Spain, Greece, Switzerland, Scandinavia (as well as separately in Sweden, Finland, Norway and Denmark), Mexico, Chile and Puerto Rico. It set opening-weekend records in the United Kingdom ($26.5 million in five days), Germany, Spain, Sweden, Denmark and Switzerland. In Singapore, it surpassed Finding Nemo to become the country's top-grossing film. In New Zealand, where filming took place, the film set opening day, opening weekend, single-day, Friday gross, Saturday gross and Sunday gross records with $1.7 million in four days.

The substantial increase in initial box office totals caused optimistic studio executives to forecast that The Return of the King would surpass The Two Towers in total earnings. If this proved to be true, then this would be the first blockbuster trilogy for each successive film to earn more at the box office than its predecessor, when all three films were blockbuster successes. The Return of the King has helped The Lord of the Rings franchise to become the highest-grossing motion picture trilogy worldwide of all time with over $2.9 billion beating other notable series such as the original Star Wars Trilogy, and became New Line's highest grossing release.

Following subsequent reissues, the film has grossed $381.9 million in the United States and Canada and $769.2 million in the rest of the world for a worldwide total of $1.151billion.

These figures do not include income from DVD sales, TV rights, etc. It has been estimated that the gross income from non-box office sales and merchandise has been at least equal to the box office for all three films. If this is so, the total gross income for the trilogy would be in the region of $6 billion following an investment of $300 million ($426 million including marketing costs).

Critical response
On the review aggregator website Rotten Tomatoes, The Return of the King holds an approval rating of 94% based on 280 reviews, with an average rating of 8.70/10. The website's critics consensus reads, "Visually breathtaking and emotionally powerful, The Lord of the Rings - The Return of the King is a moving and satisfying conclusion to a great trilogy." Metacritic, which uses a weighted average, gives the film a score of 94 out of 100 based on 41 reviews, indicating "universal acclaim". Audiences polled by CinemaScore gave the film a rare average grade of "A+" on an A+ to F scale, the highest grade in the trilogy.

Alan Morrison of Empire gave the film a perfect score of five stars. In his review, he called the film "the resounding climax to a landmark in cinema history" and praised how Peter Jackson had "kept the momentum of the series rolling on and on through the traditionally 'difficult' middle part and 'weak' finale, delivering a climax to the story that's neater and more affecting than what Tolkien managed on the printed page." Morrison also mentioned how fans of the films "who have walked beside these heroes every step of the way on such a long journey deserve the emotional pay-off as well as the action peaks, and they will be genuinely touched as the final credits roll." Elvis Mitchell for The New York Times lauded the acting, the craft of the technical crew, and Jackson's direction, describing The Return of the King as "a meticulous and prodigious vision made by a director who was not hamstrung by heavy use of computer special-effects imagery." Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying that it is "such a crowning achievement, such a visionary use of all the tools of special effects, such a pure spectacle, that it can be enjoyed even by those who have not seen the first two films." Talking about the whole trilogy, Ebert said that he admired it "more as a whole than in its parts", and that The Return of the King certified The Lord of the Rings as "a work of bold ambition in a time of cinematic timidity". In his review for The Times, James Christopher praised The Return of the King as "everything a Ring fan could possibly wish for, and much more", and described The Lord of the Rings as "the greatest film trilogy ever mounted, with some of the most amazing action sequences committed to celluloid". Nev Pierce for the BBC gave the film five stars out of five, judging it to be the best chapter of the trilogy, since it combined "the 'ooh' factor of Fellowship with the zippy action of Towers". Pierce described The Return of the King as "Majestic, moving, and immense", and "an astonishing piece of storytelling". Philip French, reviewing it for The Observer, lauded the narrative force, the battle scenes, the language, and the visual style of the film, which he related to "the swirling battle paintings of Albrecht Altdorfer" and "Claude Lorrain's elegiac paintings of maritime departures inspired by classical poets." French wrote about the whole trilogy "Jackson's Lord of the Rings is indeed a very fine achievement, moving, involving and, to many people, even inspiring. It redeems the debased cinematic notion of the epic."

In her review for Entertainment Weekly, Lisa Schwarzbaum gave the film an A grade, and wrote "The conclusion of Peter Jackson's masterwork is passionate and literate, detailed and expansive, and it's conceived with a risk-taking flair for old-fashioned movie magic at its most precious ... as he has done throughout, the director paces scenes of action, intimacy, and even panoramic, geographical grandeur ... with the control of a superb choreographer.". Schwarzbaum also said of the whole series "I can't think of another film trilogy that ends in such glory, or another monumental work of sustained storytelling that surges ahead with so much inventiveness and ardor." Richard Corliss of Time named The Return of the King the best film of the year and described the whole trilogy as "The film event of the millennium". Joe Morgenstern, for The Wall Street Journal, wrote "Never has a filmmaker aimed higher, or achieved more. The third and last installment of the screen epic based on J.R.R. Tolkien's literary classic redefines -- steeply upward -- the very notion of a major motion picture." Peter Bradshaw, who had been less enthusiastic about the first two chapters of the trilogy, gave The Return of the King four stars out of five in his review for The Guardian, commenting "I started the series an atheist and finished an agnostic". Bradshaw wrote of the film "Technically it really is superb", and commented "Hours after watching the film, I can close my eyes and see those incredible battle scenes pulsing and throbbing in my skull ... Maybe Kurosawa's battles will one day be described as proto-Jacksonian".

Some critics had negative opinions of the film. Tom Charity observes in Time Out, "Some story strands are crudely abbreviated; others fail to develop elements that were already well-established. Given the inordinate running time, it's hard to avoid the feeling that we've already been here, done this." Jonathan Romney noted in The Independent, "[T]here's something not quite palatable about all these intrepid, largely beautiful Europeans boldly fending off the nameless, numberless hordes from the other side of the world, legions of dark-skinned sans-culottes with tribal drums. ... Aside from this, there's plenty to be offended by on an aesthetic level: the film's self-important solemnity, its hyperbolic over-insistence. ... [T]here are no empty spaces, no gaps for thought, no real stimulus to the viewer's imagination. The film has no idea when to stop, either, with its multiple codas and final dying fall into beatific cosiness." And Antonia Quirke in the Evening Standard opined, "Viggo Mortensen's Aragorn is the good king of the title, and while the actor may look fetching in a crown and cloak, he doesn't have half of the gravitas of Sean Bean's Boromir in the first film. Director Peter Jackson has been all but deified for his work on this particular ring cycle, but there is not much personality behind the camera here, merely rampant enthusiasm."

The most common criticism of The Lord of the Rings: The Return of the King was its running time, particularly the epilogue; even rave reviews for the film commented on its length. Joel Siegel of Good Morning America said in his review for the film (which he gave an 'A'): "If it didn't take forty-five minutes to end, it'd be my best picture of the year. As it is, it's just one of the great achievements in film history."

In February 2004, a few months following release, the film was voted eighth on Empire's 100 Greatest Movies of All Time, compiled from readers' top ten lists. This forced the magazine to abandon its policy of only allowing films being older than a year to be eligible. In 2007, Total Film named The Return of the King the third best film of the past decade (Total Film's publication time), behind The Matrix and Fight Club.

Accolades
The film was nominated for eleven Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, Best Original Score, Best Original Song, Best Visual Effects, Best Art Direction, Best Costume Design, Best Make-up, Best Sound Mixing and Best Film Editing. At the 76th Academy Awards in 2004, the film won all the categories for which it was nominated and it shares the record for highest Academy Award totals along with Titanic (which also starred Bernard Hill) and Ben-Hur, and also holding the record for the highest clean sweep at the Oscars, surpassing the nine awards earned by both Gigi and The Last Emperor. It was the first fantasy film to win the Academy Award for Best Picture. It also was the last movie for 14 years to win the Academy Award for Best Picture without being chosen as one of the top ten films of the year by the National Board of Review, until the release of The Shape of Water in 2017.

The film also won four Golden Globes (including Best Picture for Drama and Best Director),  five BAFTAs, two MTV Movie Awards, two Grammy Awards, nine Saturn Awards, the New York Film Critics Circle award for Best Picture, the Nebula Award for Best Script, and the Hugo Award for Best Dramatic Presentation, Long Form.