the extraembryonic membrane that helps in the formation of the placenta is the

The chorion is the outermost fetal membrane around the embryo in mammals, birds and reptiles. It develops from an outer fold on the surface of the yolk sac, which lies outside the zona pellucida (in mammals), known as the vitelline membrane in other animals. In insects it is developed by the follicle cells while the egg is in the ovary.[1] The main function of the chorion is to protect and nurture the embryo.[2]

Chorion

In humans and other mammals (excluding monotremes), the chorion is one of the fetal membranes that exist during pregnancy between the developing fetus and mother. The chorion and the amnion together form the amniotic sac. It is formed by extraembryonic mesoderm and the two layers of trophoblast that surround the embryo and other membranes. The chorionic villi emerge from the chorion, invade the endometrium, and allow the transfer of nutrients from maternal blood to fetal blood.

The chorion consists of two layers: an outer formed by the trophoblast, and an inner formed by the somatic mesoderm; the amnion is in contact with the latter.

The trophoblast is made up of an internal layer of cubical or prismatic cells, the cytotrophoblast or layer of Langhans, and an external layer of richly nucleated protoplasm devoid of cell boundaries, the syncytiotrophoblast.

The chorion undergoes rapid proliferation and forms numerous processes, the chorionic villi, which invade and destroy the uterine decidua, while simultaneously absorbing nutritive materials from it for the growth of the embryo.

The chorionic villi are at first small and non-vascular, and consist of the trophoblast only, but they increase in size and ramify, whereas the mesoderm, carrying branches of the umbilical vessels, grows into them, and they are vascularized.

Blood is carried to the villi by the paired umbilical arteries, which branch into chorionic arteries and enter the chorionic villi as cotyledon arteries. After circulating through the capillaries of the villi, the blood is returned to the embryo by the umbilical vein. Until about the end of the second month of pregnancy, the villi cover the entire chorion, and are almost uniform in size; but, after this, they develop unequally.

The part of the chorion that is in contact with the decidua capsularis undergoes atrophy, so that by the fourth month scarcely a trace of the villi is left. This part of the chorion becomes smooth, and is named the chorion laeve (from the Latin word levis, meaning smooth). As it takes no share in the formation of the placenta, this is also named the non-placental part of the chorion. As the chorion grows, the chorion laeve comes in contact with the decidua parietalis and these layers fuse.

The villi at the embryonic pole, which is in contact with the decidua basalis, increase greatly in size and complexity, and hence this part is named the chorion frondosum.

Thus the placenta develops from the chorion frondosum and the decidua basalis.

Monochorionic twins are twins that share the same placenta. This occurs in 0.3% of all pregnancies,[3] and in 75% of monozygotic (identical) twins, when the split takes place on or after the third day after fertilization.[4] The remaining 25% of monozygous twins become dichorionic diamniotic.[4] The condition may affect any type of multiple birth, resulting in monochorionic multiples.

In reptiles, birds, and monotremes, the chorion is one of the four extraembryonic membranes that make up the amniotic egg that provide for the nutrients and protection needed for the embryo's survival. It is located inside the albumin, which is the white of the egg. It encloses the embryo and the rest of the embryonic system. The chorion is also present in insects. During growth and development of the embryo, there is an increased need for oxygen. To compensate for this, the chorion and the allantois fuse together to form the chorioallantoic membrane. Together these form a double membrane, which functions to remove carbon dioxide and to replenish oxygen through the porous shell. At the time of hatching, the fetus becomes detached from the chorion as it emerges from the shell.

Section through the embryo.

Diagram illustrating early formation of allantois and differentiation of body-stalk.

Diagram showing later stage of allantoic development with commencing constriction of the yolk-sac.

Scheme of placental circulation.


where do the orensteins live after the war

Orenstein survived the Holocaust with two brothers, Fred and Sam, losing his parents in 1942, a brother, Felix, and sister, Hanka, during their final days of captivity in separate concentration camps. He reached the United States aboard the USS Fletcher (DD-445), a destroyer being used to transport refugees. He joined their uncle on the Upper West Side of Manhattan. Initially finding work with the Libby's canned food company, he came upon a bride doll in a department store window display for $29.95 (which he claimed would be equivalent to $200 in the early 21st century, and figured that he could make a similar doll much more affordable. He became a toymaker, and after seeing much success with these initial dolls, he earned his first million dollars and founded Topper Toys, which produced such famous toys as the Suzy Cute line of miniature dolls and the Johnny Lightning line of model cars.[4]

Henry Orenstein

Henry Orenstein (born Henryk Orenstein; c. 1923)[1] is a toymaker, poker player and entrepreneur who resides in Verona, New Jersey.

Henryk (Henry) Orenstein was born c. 1923 in Hrubieszów, Poland.[2] Raised in the Jewish faith, he spent much of the end of World War II in five concentration camps.[2] After the war, he emigrated to the United States.[2]

Orenstein, along with his brothers and father, had initially fled to Olyka after the German army entered Hrubieszów in September 1939. The Orensteins lived in Olyka for two years before returning to the mother and sister in Hrubieszów.[3] Orenstein has explained during interviews how his family had built secret hiding spots between double walls in which to hide when the authorities came looked for them, but after a while and having exhausted food and water supplies, they eventually turned themselves in. After his parents were loaded onto trucks and taken to a cemetery to be shot, killed and buried, he was taken with his siblings to the Budzyń Prison Camp in southeastern Poland, which was eventually incorporated into the Majdanek concentration camp as a sub-camp. Orenstein and his brothers were held at Płaszów under the infamous Amon Goeth, who was portrayed in Schindler's List. Orenstein, along with his brothers, were later moved to Ravensbrück concentration camp in Germany. While at Budzyń, Orenstein heard a call over the loudspeaker one day that any scientists should register with the office, and figuring this would be their best chance at survival, Orenstein signed himself and his brother up, even though they were not trained as scientists. By personal account, Orenstein explained that the Nazi German commanders figured out that a segment of those who had registered were not actual scientists, but went along with the ruse to allow them to remain in so called "research positions" rather than being drafted themselves into the Nazi German infantry.[4]

He convinced Hasbro to start producing Transformers.[2] He holds over 100 other patents, and aside from Transformers, the best-known of these inventions is U.S. Patent 5,451,054 which gave Orenstein the exclusive right in the United States to detect and display hole cards in poker games.

In a bid to make televised poker championships more interesting for the audience, he devised a way in which the players' face-down cards could be seen by the audience: by cutting a window into the tables at each player and having a piece of glass with a camera under it, the audience would be able to better appreciate the game play while not disturbing the setting for the actual players. NBC Sports President of Programming Jon Miller stated that Orenstein is "single handedly responsible for the success of poker today."[4]

Orenstein is the creator and an executive producer of the Poker Superstars Invitational Tournament on FSN. He produced the popular TV Show High Stakes Poker, which ran from 2006-2007 and 2009-2011, and can be seen in the United States on GSN.[5]

As of 2009, Orenstein's live poker tournament winnings exceed $200,000.[6] He was a 2008 inductee into the Poker Hall of Fame.[7] Orenstein was also inducted to the New Jersey Inventors Hall of Fame.

He won the $5,000 Seven-card stud tournament at the 1996 World Series of Poker (WSOP), earning $130,000 by defeating fourth-place T. J. Cloutier, third-place Cyndy Violette and runner-up Humberto Brenes. Orenstein twice had finished in the money in the $10,000 WSOP no limit Texas hold 'em main event: 12th in 1993 and eighth in 1995.

He came in seventh in the $2,500 Seven Card Stud event at the 2005 United States Poker Championship, and despite being the oldest competitor (at age 80), won his first round of NBC's National Heads-Up Poker Championship against one of the best cash-game players in the world, Chip Reese. Orenstein lost in the second round to John Hennigan.

Orenstein is a noted philanthropist. In 1984, the American government built an eleven-story building for low income families, known as the Lejb and Golda Orenstein Building, in honor of Orenstein's parents, who were murdered by the Nazis. Orenstein helped pay for the apartments. There is also a Lejb and Golda Orenstein Building in Kiryat Ono, Israel which consists of housing units and recreational facilities. Orenstein contributed most of the money towards this project. Orenstein has his own chapter at Metropolitan Council on Jewish Poverty in New York. Over the past thirty years, Orenstein has assisted thousands of poor New Yorkers to pay their rent and medical bills.


where is the uterus situated in the female body

The uterus is located within the pelvic region immediately behind and almost overlying the bladder, and in front of the sigmoid colon. The human uterus is pear-shaped and about 7.6 cm (3 in.) long, 4.5 cm broad (side to side) and 3.0 cm thick.[1] A typical adult uterus weighs about 60 grams. The uterus can be divided anatomically into four regions: The fundus, corpus (body), cervix and the internal os. The cervix protrudes into the vagina. The uterus is held in position within the pelvis by condensations of endopelvic fascia, which are called ligaments. These ligaments include the pubocervical, transverse cervical ligaments or cardinal ligaments, and the uterosacral ligaments. It is covered by a sheet-like fold of peritoneum, the broad ligament.[2]

Uterus

The uterus (from Latin "uterus", plural uteri) or womb is a major female hormone-responsive reproductive sex organ of humans and most other mammals. In the human, the lower end of the uterus, the cervix, opens into the vagina, while the other end, the fundus, is connected to the fallopian tubes. It is within the uterus that the fetus develops during gestation. In the embryo the uterus develops from the paramesonephric ducts which fuse into the single organ known as a simplex uterus. The uterus has different forms in many other animals and in some it exists as two separate uteri known as a duplex uterus.

In English, the term uterus is used consistently within the medical and related professions, while the Germanic-derived term womb is also commonly used in everyday contexts.

From outside to inside, regions of the uterus include:

The uterus has three layers, which together form the uterine wall. From innermost to outermost, these layers are as follows:

Vertical section of mucous membrane of human uterus.

The uterus is primarily supported by the pelvic diaphragm, perineal body and the urogenital diaphragm. Secondarily, it is supported by ligaments and the peritoneal ligament the broad ligament of uterus.[11]

It is held in place by several peritoneal ligaments, of which the following are the most important (there are two of each):

Normally the uterus lies in anteversion & anteflexion. In most women, the long axis of the uterus is bent forward on the long axis of the vagina, against the urinary bladder. This position is referred to as anteversion of the uterus. Furthermore, the long axis of the body of the uterus is bent forward at the level of the internal os with the long axis of the cervix. This position is termed anteflexion of the uterus.[12] Uterus assumes anteverted position in 50% women, retroverted position in 25% women and rest have midposed uterus.[1]

The uterus is in the middle of the pelvic cavity in frontal plane (due to ligamentum latum uteri). The fundus does not surpass the linea terminalis, while the vaginal part of the cervix does not extend below interspinal line. The uterus is mobile and moves posteriorly under the pressure of a full bladder, or anteriorly under the pressure of a full rectum. If both are full, it moves upwards. Increased intraabdominal pressure pushes it downwards. The mobility is conferred to it by musculo-fibrous apparatus that consists of suspensory and sustentacular part. Under normal circumstances the suspensory part keeps the uterus in anteflexion and anteversion (in 90% of women) and keeps it "floating" in the pelvis. The meaning of these terms are described below:

Sustentacular part supports the pelvic organs and comprises the larger pelvic diaphragm in the back and the smaller urogenital diaphragm in the front.

The pathological changes of the position of the uterus are:

In cases where the uterus is "tipped", also known as retroverted uterus, women may have symptoms of pain during sexual intercourse, pelvic pain during menstruation, minor incontinence, urinary tract infections, fertility difficulties,[13] and difficulty using tampons. A pelvic examination by a doctor can determine if a uterus is tipped.[14]

The uterus is supplied by arterial blood both from the uterine artery and the ovarian artery. Another anastomotic branch may also supply the uterus from anastomosis of these two arteries.

Afferent nerves supplying uterus are T11 and T12. Sympathetic supply is from hypogastric plexus and ovarian plexus. Parasympathetic supply is from second, third and fourth sacral nerves.

Bilateral M端llerian ducts form during early fetal life. In males, MIF secreted from the testes leads to their regression. In females, these ducts give rise to the Fallopian tubes and the uterus. In humans the lower segments of the two ducts fuse to form a single uterus, however, in cases of uterine malformations this development may be disturbed. The different uterine forms in various mammals are due to various degrees of fusion of the two M端llerian ducts.

The reproductive function of the uterus is to accept a fertilized ovum which passes through the utero-tubal junction from the fallopian tube (uterine tube). The fertilized ovum divides to become a blastocyst, which implants into the endometrium, and derives nourishment from blood vessels which develop exclusively for this purpose. The fertilized ovum becomes an embryo, attaches to a wall of the uterus, creates a placenta, and develops into a fetus (gestates) until childbirth. Due to anatomical barriers such as the pelvis, the uterus is pushed partially into the abdomen due to its expansion during pregnancy. Even during pregnancy the mass of a human uterus amounts to only about a kilogram (2.2 pounds).

The uterus also plays a role in sexual response, by directing blood flow to the pelvis and ovaries, and to the external genitals, including the vagina, labia, and clitoris.

A hysterectomy is the surgical removal of the uterus which may be carried out for a number of reasons including the ridding of tumours both benign and malignant. A complete hysterectomy involves the removal of the body, fundus, and cervix of the uterus. A partial hysterectomy may just involve the removal of the uterine body while leaving the cervix intact. It is the most commonly performed gynecological surgical procedure.

Some pathological states include:

In 2012, the world's first womb transplant from a dead donor was performed on a Turkish woman who was born without a womb, but has her own ovaries. She is in good condition and the womb is functional. In the year 2000 in Saudi Arabia a similar transplant was performed, but from a live donor. Although womb transplants have been successful in animals such as mice, rats and sheep, the prevailing opinion in the field is that the risks are too great. Apart from risks of rejection of the new womb, there is concern that the drugs necessary for prevention of rejection of the donated womb might harm the fetus.[17]

Most animals that lay eggs, such as birds and reptiles, including most ovoviviparous species, have an oviduct instead of a uterus. However, recent research into the biology of the viviparous (not merely ovoviviparous) skink Trachylepis ivensi has revealed development of a very close analogue to eutherian mammalian placental development.[18]

In monotremes, mammals which lay eggs, namely the platypus and the echidnas, either the term uterus or oviduct is used to describe the same organ, but the egg does not develop a placenta within the mother and thus does not receive further nourishment after formation and fertilization.

Marsupials have two uteri, each of which connect to a lateral vagina and which both use a third, middle "vagina" which functions as the birth canal.[19] Marsupial embryos form a choriovitelline placenta (which can be thought of as something between a monotreme egg and a "true" placenta), in which the egg's yolk sac supplies a large part of the embryo's nutrition but also attaches to the uterine wall and takes nutrients from the mother's bloodstream. However, bandicoots also have a rudimentary chorioallantoic placenta, similar to those of placental mammals.

The fetus usually develops fully in placental mammals and only partially in marsupials including kangaroos and opossums. In marsupials the uterus forms as a duplex organ of two uteri. In monotremes (egg-laying mammals) such as the platypus, the uterus is duplex and rather than nurturing the embryo, secretes the shell around the egg. It is essentially identical with the shell gland of birds and reptiles, with which the uterus is homologous.[20]

In mammals, the four main forms of the uterus are: duplex, bipartite, bicornuate and simplex.[21]

Two uteri usually form initially in a female and usually male fetus, and in placental mammals they may partially or completely fuse into a single uterus depending on the species. In many species with two uteri, only one is functional. Humans and other higher primates such as chimpanzees, usually have a single completely fused uterus, although in some individuals the uteri may not have completely fused.

Schematic frontal view of female anatomy

Uterus and uterine tubes.

Sectional plan of the gravid uterus in the third and fourth month.

Fetus in utero, between fifth and sixth months.

Female pelvis and its contents, seen from above and in front.

The arteries of the internal organs of generation of the female, seen from behind.

Median sagittal section of female pelvis.

(Description located on image page)


what body of water is san juan puerto rico on

San Juan Bay (Spanish: Bahía de San Juan) is the inlet adjacent to Old San Juan in northeastern Puerto Rico. It is the largest body of water in an estuary of about 150 square miles (390 km2) of channels, inlets and eight interconnected lagoons. Puerto Rico's deepest bay contains the island's busiest harbor, and since 1508 it has been historically significant.[1][2]

San Juan Bay

The bay is a semi-enclosed body of water with an elaborate system of loops, basins and channels at the center of Puerto Rico's most significant historical monuments and largest communities. San Juan Bay provides recreation, sightseeing and tourist attractions, and its curved shape offers a variety of docking facilities for watercraft. Because of commercial expansion and environmental stress on the region,[3][4] the estuary has been the focus of restoration ecology projects.[5][6] In 2015, the San Juan Estuary Program (Programa del estuario de la Bahía de San Juan) began using green flags to mark the condition of the bay's waters.[7][8]

On a map, San Juan Bay appears to connect two adjacent lakes. This impression comes from a neck of land, Puntilla ("small point"), which projects from the Islet of San Juan Bautista into the center of the bay and approaches another protuberance (Punta Cataño) stretching from the other side of a larger island. The illusion demonstrates the bay's irregular shape. Next to Puntilla are docks which are reportedly the busiest in the Caribbean.[9] Part of the Port of San Juan, they are on the Islet of San Juan Bautista at the entrance to San António Channel. Three bridges between the islet and the mainland cross the channel, which connects the bay to Laguna del Condado (Condado Lagoon) and the Atlantic Ocean. One of these bridges is the historic Bridge of Two Brothers. Before their construction, the Condado Lagoon was the bay's narrowest entrance.

On the other side, across the Isla Grande peninsula, the bay's interior is shaped like a triangle. It contains the busy Bahía de Puerto Nuevo (New Port Bay), which is closer to inland transportation networks than the Port of San Juan. The bay is fed by the Río Piedras, which empties into the bay via the Canal Martín Peña. The 3.75-mile (6.04 km) channel connects the bay to other lagoons and the city of Río Piedras.[10]

The Spanish conquistadors of the New World thought in terms of urban landscapes and municipal organization. They did not launch their conquista de las Indias from ocean-going caravels or itinerant campsites. The Spanish needed solid dwellings, preferably surrounded by rock walls, as they had in Europe.  Juan Ponce de León spent days searching for the best place to build a villa, the blueprint for a colonial city. Santo Domingo governor Nicolás de Ovando had appointed him to pacify and evangelize the nearby island, which Christopher Columbus had named "San Juan Bautista" during his second voyage to the Americas. A frontier with dreaded, reportedly-cannibalistic Caribs on its coast, it was an opportunity to demonstrate machismo and glorify God and country. Following de Ovando's recommendation, Ferdinand II of Aragon made Ponce de León an adelantado and authorized him to conquer the Taíno island. Boriquén, the indigenous name for Puerto Rico, would be the second Caribbean island to become part of the Spanish Empire.[11]

In 1508 Ponce de León sailed into the Bay of Guanica, on the west of the island, where local cacique Agüeybaná I welcomed his men as allies against the Caribs. However, the Spanish did not find a suitable place to settle there.[12] The adelantado and his small team of hidalgos traversed the island until they saw a spacious, almost-landlocked bay on the northeastern shore. No indigenous peoples seemed to claim the area, since it was subject to Carib raids. Ponce de León named the body of water the Bay of the Wealthy Port (Spanish: Bahía de Puerto Rico).[13][14]

Ponce de León pushed inland and ordered the first Spanish settlement on the island, 3 miles (4.8 km) from the bay. Following de Ovando's suggestion, he named the settlement Caparra. The explorer chose the site because of its proximity to the sea and "to the gold mines and farms of the Toa Valley".[15]

Caparra proved to be an inauspicious venture. Mendicant friars appealed to Ponce de León to move the settlement closer to the bay (and its sea breezes), saying that its present location was lethal to children. The governor was adamantly opposed, since he had had a house built in Caparra. In 1511 the crown appointed a new governor, Juan Cerón, who received royal permission to relocate the village. According to Rodrigo de Figueroa's map, the villagers resettled on a three-mile blustery, wooded islet at the bay's entrance.[16] In 1521, the residents completed the resettlement and named the new village "Villa de Puerto Rico".[17] Several years later, after a royal upgrade, the settlement was renamed "Ciudad de Puerto Rico".[18][19][20] Colonial engineers fortified the islet with walls and castles, connecting it to mainland Puerto Rico with the San Antonio Bridge, and it came to be known as "the walled city".[21][22]

Sixteenth-century Spanish historian and indigenous activist Bartolomé de las Casas described the bay and its surrounding area names different from those presently used:[23][24] La isla que llamamos de San Juan, que por vocablo de la lengua de los indios, vecinos naturales della, se nombraba Boriquén... tiene algunos puertos no buenos, si no es el que llaman Puerto-Rico ("That island we call San Juan, which according to the native Indian language was called Boriquén, has but a few inferior harbors, except the one called Puerto-Rico").[25][26] According to de las Casas, the Indians called their island "Boriquén"; the Spanish called it "San Juan", and its harbor "Puerto Rico". Over time, the island became Puerto Rico and its harbor (and bay) San Juan; the Indian name changed to Borinquen, with no diacritic and an extra n.[27]

Although the Atlantic winds may have provided a healthier climate on the islet, moving the village from Caparra to the bay did not protect the settlers further from Carib attacks. The Caribs, understanding the impact of European colonization on their survival, stormed the new settlement fiercely.[28]

By the eighteenth century the population of the islet had expanded into the Atlantic City of San Juan, largely due to the proximity of the bay and its port.  The city and the bay's entrances were fortified; the bay and its walls isolated the Spanish inhabitants from the rest of the island's population, encouraging a casta.[29]

For the last 500 years the bay's most important function has been to link Puerto Rico and the outside world,[30] and detachments of the Spanish treasure fleet connected the island colony to the Spanish colonial network. With its strategic location, it was a target for pirate attacks and a site for imperial powers to demonstrate military might. On the east side of the bay's mouth, the Castillo San Felipe del Morro still guards its narrow entrance.[31]

The Port of San Juan, on the islet at the bay's northern side, is among the busiest Caribbean ports.[32][33][34] Thousands of fishermen ply the brackish waters where fresh water meets the sea. San Juan Bay's beauty and ecological diversity attracts tourism and a variety of recreational activities.

A result of exploitation, however, has been the degradation of a significant portion of the bay's natural resources; the area is also susceptible to seismic activity.[35][36] A restoration project has returned the bay's water to "safe at contact" status and has integrated the city's renovated coastal infrastructure into the bay's shoreline.[37]

1922 sketch map

The Ciudad Amurallad (Walled City), seen from the bay

Cruise ship entering the bay

Narrow entrance, seen from the Isla de Cabras

U.S. Coast Guard ship entering the bay

Sailboats in 1901

Bay entrance, seen from El Morro

View from the city walls

1766 map by Isaak Tirion


when does shadow of the tomb raider release

Shadow of the Tomb Raider is an action-adventure video game developed by Eidos Montréal in conjunction with Crystal Dynamics and published by Square Enix. It continues the narrative from the 2015 game Rise of the Tomb Raider and is the twelfth mainline entry in the Tomb Raider series. The game was released worldwide on 14 September 2018 for Microsoft Windows, PlayStation 4 and Xbox One.

Shadow of the Tomb Raider

Set shortly after the events of Rise of the Tomb Raider, its story follows Lara Croft as she ventures through Mesoamerica and South America to the legendary city Paititi, battling the paramilitary organization Trinity and racing to stop a Mayan apocalypse she has unleashed. Lara must traverse the environment and combat enemies with firearms and stealth as she explores semi-open hubs. In these hubs she can raid challenge tombs to unlock new rewards, complete side missions, and scavenge for resources which can be used to craft useful materials.

Development began in 2015 following the completion of Rise of the Tomb Raider, lasting until July 2018. Shadow of the Tomb Raider was designed to conclude Lara's journey begun in the 2013 reboot, with a key theme being descent both through the jungle environment and into her personality. The setting and narrative was based on Mayan and Aztec mythologies, consulting historians to design the architecture and people of Paititi. The gameplay was adjusted based on both fan feedback and the wishes of Eidos MontrÃ©al, incorporating swimming and grappling while increasing difficulty tailoring. Camilla Luddington returned to provide voice and motion-capture work for Lara.

Shadow of the Tomb Raider received generally positive reviews from critics, although some criticized that the series' gameplay had become stale and lacked innovation.

Shadow of the Tomb Raider is an action-adventure game played from a third-person perspective; players take the role of main protagonist Lara Croft as she explores environments across the continent of South America. The game's hub is set to be the largest in the franchise which also reveals the hidden city of Paititi. Players can participate in side quests and missions and learn about Paititi which provides a richer experience. A new barter system allows players to trade resources, salvage parts and weapons in Paititi.[3][4] There are numerous adjustments made to gameplay, which is otherwise identical to Rise. The controls for swimming have been completely revised, as Lara is now able to hold her breath underwater for a longer period of time due to the introduction of air pockets. She also gains the ability to rappel down a cliff using a rope. Stealth becomes an important part of the game, with Lara being able to disengage from combat when she escapes from enemies' line of sight by covering herself in mud, hiding in bushes or against walls.[5]

Like its predecessors, the game allows players to hunt wild animals, craft materials using the resources collected, solve puzzles and explore optional tombs. The game also features more tombs than the previous installments in the reboot series.[5] Players will now have the option to tailor their gameplay experience as exploration, puzzles and combat have their own difficulty settings.[4] A new Immersion Mode enables players to hear the background conversations of the locals in their native languages, when turned off the conversations are made in the players' chosen voice over language.[6]

In the two months since Rise of the Tomb Raider,[7] Lara Croft and her friend Jonah Maiava have dedicated themselves to stopping the activities of paramilitary organization Trinity. The two track a cell to Cozumel in Mexico that is led by Pedro Dominguez, the head of Trinity's High Council. Slipping inside nearby tombs being excavated by Trinity, Lara discovers a temple containing the Dagger of Ix Chel and references to a hidden city. Murals adorning the walls allude to the Silver Box of Chak Chel and warn of "the Cleansing", a Mayan apocalypse culminating in a permanent solar eclipse. Lara ignores the warnings and takes the Dagger to prevent Trinity from acquiring it. Dominguez catches her and reveals that by taking the Dagger, Lara has triggered the Cleansing. He takes the Dagger, intending to unite it with the Box to stop the Cleansing and use the power it grants him to remake the world in his image. Lara and Jonah escape a tsunami that destroys Cozumel and foreshadows the coming apocalypse.

Despite growing tensions between them over her actions, Lara and Jonah pursue Dominguez into the Amazon. Their plane crashes in the Peruvian jungle during the second cataclysm—a massive storm—and the two find their way to Paititi, the hidden city shown in the murals. Exploring local tombs reveals that piercing the Box with the Dagger will grant the user the power of the god Kukulkan, which must be used to halt the Cleansing. Lara witnesses Trinity soldiers being slaughtered by strange humanoid monsters. When Lara saves a boy named Etzli, she and Jonah are brought into Paititi by his mother Unuratu, queen of the city. Lara sees Dominguez is the leader of a cult dedicated to Kukulkan and Unuratu reveals he is her brother-in-law Amaru, who was taken by Trinity as a child and raised to complete the ritual and reshape the world in their image. Unuratu directs Lara to the Box, but Lara finds it is missing. Believing the cult already has the Box, Lara and Unuratu attempt to steal it, but Unuratu is captured. Lara also encounters the creatures again and learns they are the Yaaxil, guardians of the Box.

Lara infiltrates the cult's temple and overhears Amaru telling Unuratu that the Box was hidden by Andres Lopez, a missionary sent to Paititi by Trinity during the Spanish conquest of South America. Lara rescues Urunatu and realises that Amaru does not fully understand the ritual: the power of Kukulkan is not enough to prevent the apocalpyse; rather, the ritual sacrifices Kukulkan to prevent it. Unuratu is shot by Commander Rourke, Amaru's second in command. Before she dies, Unuratu implores Lara to complete the ritual, but warns her to not let the Box influence her. Lara and Jonah are attacked by Rourke and separated as they leave Paititi to decipher the next clue. Believing Jonah to be dead, Lara goes on a rampage that destroys an oil refinery and slaughters everyone there except Rourke, who escapes. She momentarily breaks down when she finds Jonah alive, but he manages to calm her down and they decipher the Box's location. Driven mad by the Box's influence, Lopez established a mission near Paititi where he trained acolytes to complete the ritual. Lara and Jonah find a secret catacomb beneath a church that leads to Lopez's tomb and the Box. Amaru finds them and forces Lara to surrender the Box. He admits that he ordered her father's death to prevent him from finding Paititi and revealing it to the world. Lara tries to persuade Amaru to use the Cleansing ritual to benefit the world. He refuses, as the Cleansing will only affect Paititi. Amaru has used his position in Trinity to manipulate them into preventing it. He leaves Lara and Jonah to escape the third cataclysm, a massive earthquake that causes a landslide and destroys the mission.

Back in Paititi, Lara and Jonah help the newly-crowned Etzli lead an assault on an underground temple complex at Paititi's center. They plan to disrupt Amaru's ceremony while avoiding the fourth and final cataclysm, a volcanic eruption that will destroy the city. Lara is forced to go on alone when Trinity cuts off Etzli's forces. She encounters the Yaaxil and their leader Crimson Fire and convinces them to help her stop Amaru. Lara takes on the symbolic role of Ix Chel while Crimson Fire is Chak Chel. While the Yaaxil kill Rourke and the Trinity High Council, Lara makes it to the temple summit. She fails to stop Amaru from piercing the Box and absorbing Kukulkan's power as the sun is blocked by an eclipse. Lara overpowers Amaru after a lengthy battle; accepting defeat, he transfers Kukulkan's power to Lara as he dies. True to Unuratu's warning, she is tempted to use the Box to revive her parents, but instead lets "Chak Chel" symbolically stab her as "Ix Chel". This sacrifices Kukulkan's spirit and stops the Cleansing. In the aftermath, Unuratu is laid to rest and Jonah decides to take a vacation. Lara stays in Paititi to help Etzli restore the city to its former glory. A post-credits scene shows Lara planning her next adventure at Croft Manor, acknowledging that her role is not to solve the world's mysteries, but to protect them.

Development of Shadow of the Tomb Raider began in 2015.[8] Unlike the previous entries in the Tomb Raider reboot series which were primarily developed by Crystal Dynamics, Eidos Montréal assumed major development duties for Shadow of the  Tomb Raider while Crystal Dynamics provided additional development.[1] While the studio had acted in a support role on the previous entries in the rebooted Tomb Raider series, this time Crystal Dynamics transferred into a support role.[8] Due to this transition, the staff at both Eidos Montréal and Crystal Dynamics needed to adjust, with the Eidos Montréal undergoing "growing pains" while moving from a supporting to a leading development role.[9] Similar to their work on the Deus Ex series and Thief, Eidos Montréal first gained a deep understanding of the series' basic elements, then set about building the game using both previous entries and their own design philosophies.[8]

Eidos Montréal estimated the game's development costs as between $75 and $100 million, with a separate marketing and promotion budget of $35 million, becoming the studio's largest project at the time. Studio head David Anfossi admitted the scale of the project in the modern gaming market and the need to make a profit. With the costs in mind, Eidos Montreal sought to incorporate experimental elements within multiplayer options to give the game longevity using the emerging "games as a service" trend so the game could provide post-release income and foster a large community.[8] Development was completed on 24 July 2018, with Eidos Montréal confirming that the game was declared gold (indicating that it was being prepared for duplication and release).[10]

Shadow of the Tomb Raider was designed to evolve the narrative and gameplay elements of Lara Croft; in the 2013 reboot she was portrayed as a hunted survivor, Rise of the Tomb Raider revealed her beginning to pursue her own goals, and Shadow of the Tomb Raider was designed to show her mastering the environment. The story closes off the rebooted origin story, with Lara becoming "the tomb raider she was always meant to be."[12] Narrative director Jason Dozois defined this as being Lara's ultimate "tomb raider" persona within the reboot timeline rather than a return to the character of Lara from games prior to 2013:[13]

"We regard Lara as a classic timeless character. It's not a period piece. It's always set now, so we have to use the sensibilities of today. The reboot has been about bringing a more grounded version of Lara. Becoming the Tomb Raider is becoming this ultimate expression of this survivor timeline, and what that means for us is becoming more responsible with the use of archaeology, it's not just about possessing an object, going into a tomb, everything crumbles, and then leaving. It's about learning that archaeology is also culture, and history, and language, and that involves people."[13]

The staff also wanted to tackle the "political tension" and social impact of a rich white woman hunting artefacts in foreign lands. The story's climax will result in Lara being "humbled". The setting of Latin America was chosen to reflect this theme.[14] Lara's obsession and darker personality traits also played into this, with several scenes emphasising the sacrifices she was forced to make during her pursuit of Trinity. The destruction Lara releases when claiming a key artefact before Trinity was designed as an inversion of the traditional Tomb Raider approach, which used a similar style without consequences.[11][15] Several different post-credit scenes were considered for the game. When first released, one of the scrapped scenes was included by mistake, with a post-release patch replacing it with the intended cutscene.[16]

British actress Camilla Luddington reprised her role from the previous two games, and was able to help Eidos Montréal keep Lara's characterization consistent with the previous games.[11] As with Tomb Raider and Rise of the Tomb Raider, Luddington also provided Lara's motion capture, calling Shadow of the Tomb Raider one of the most difficult emotional performances from her time playing Lara.[17] The main antagonist was intended as Lara's emotional foe, with the jungle being her physical foe. Lara's relationship with Jonah evolved further; while in Tomb Raider they had been distant, in Rise he protected her out of loyalty to their lost friends, while in Shadow they share a strong bond which prompts Jonah to support her.[7] Due to their previous experience with cinematic storytelling, Eidos Montréal designed the narrative of Shadow of the Tomb Raider to have more cinematic moments.[11] The team needed to consider the overall concept of the reboot trilogy, and narrative threads previously left unresolved in Rise including who killed Lara's father.[13] Before recording began, the cast read through the script so the performances could be more convincing.[17]

The game's jungle setting was chosen to "complete" Lara's abilities, carrying over old skills while learning new ones to face new threats. It also acted as a visual contrast to the previous games.[13][18] While the team were restricted in story design by the overall plan, they were able to adjust the gameplay balance to bring a greater focus on puzzles compared to Rise.[13] The aim was to have Lara undergo an evolution when faced with the jungle's harsh reality, with her early confrontation with jaguars being the catalyst which starts her transformation.[13] The stealth elements—including camouflaging and the use of fear tactics—drew inspiration from films such as Rambo and Predator.[11] Swimming was incorporated into the gameplay, though the team gave it a "survival-action" feel.[15]

Director Daniel Chayer-Bisson described redesigning the established level design as "a nightmare", because they had to take into account player experimentation and potential sequence breaking when implementing new mechanics such as climbing onto overhangs and using the grappling line.[7] During surveys of the fan base, the team heard wishes both for harder puzzles and the removal of visual climbing aids such as white surfaces. As removing them outright would have made the game intimidating for newcomers, they created the scaling difficulty settings as a compromise. Shadow of the Tomb Raider was made inviting for newcomers as the opening section acted as both a narrative introduction and a tutorial for Lara's abilities.[13] The overall verticality of environments and its impact on mechanics such as swimming and grappling reflected the game's theme of "descent".[11]

The setting and narrative took inspiration from Mayan and Incan mythology, including its recurring focus on sun worship, sacrifice, and the ages of mankind.[18] The Mayan influence was chosen due to that culture's fixation on astronomy and dates.[19] During the initial design pitch, the designers wanted Lara to discover a real lost tomb with people living around it, a concept previously limited by the technology available at the time. During their research, they chose the city of Paititi due to its historic precedent over purely fictional locations such as El Dorado.[7] The culture of Paititi was based on the supposition that elements of Mesoamerican cultures could have migrated into Peru.[19] The culture and people of Paititi were based on historic accounts of the Maya, Aztec and Inca peoples. The clothing of the people were based on historic examples and accounts.[14][18] The team consulted historians to ensure their cultural depictions were accurate and respectful.[15]

The music for Shadow of the Tomb Raider was composed by Brian D'Oliveira. While following the musical styles established since the 2013 reboot, the team also added new esthetic elements, incorporating the local culture and the darker portrayal of both Lara and her mission. D'Oliveira was brought on due to his ability with South American instruments, and during recording at his Montreal studios worked with native musicians to achieve the right sound for each location. Martin Stig Andersen worked as Ambient Sound Designer, who focused on the sound transition for underwater segments. The team brought back "The Instrument", a specially-designed percussion instrument created for the 2013 reboot's soundtrack by Matt McConnell. The Instrument was used to help convey the primal aspects of Lara's character, in addition to referencing her adventure on Yamatai in the 2013 game.[20]

On 15 March 2018, Square Enix confirmed that a sequel to Rise of the Tomb Raider was in development and scheduled to be released on 14 September 2018 for Microsoft Windows, PlayStation 4 and Xbox One.[21][22][23][24] The Windows version was developed by Nixxes Software, who had worked on several earlier Tomb Raider games for the platform.[2] On the same day, a teaser trailer was released showing Lara Croft in a mountainous environment. The game was revealed on 27 April 2018 with a trailer, screenshots, and a one hour demo to members of the press.[25] A season pass was also announced, which gives players access to seven "paths" which include new narratives, missions, tombs, weapons, outfits and skills.[26] None of these would contain additional story content, which was complete with the base release.[13]

Shadow of the Tomb Raider received "generally favorable" reviews according to review aggregator Metacritic.

EGM gave a positive review, and said that the game "manages to separate itself from the pack by excelling in everything that makes this genre what it is".[33] Lucy O'Brien of IGN stated that "With a story that manages to satisfactorily tread the line between high-concept fun and grounded character exploration, Shadow of the Tomb Raider meaningfully wraps up the journey Lara began in 2013 and convincingly leaves her in a place resembling where she was when we were first introduced to her more than 20 years ago".[30] Andy Kelly from PC Gamer (US) found the game having "a greater focus on raiding tombs" and "massively improved stealth combat" that make it one of the Lara Croft's "best modern adventures".[35] GamesRadar+ called it as "the strongest entry in the rebooted trilogy".[32] Brett Makedonski of Destructoid compared the game's themes to Uncharted and Indiana Jones and the Temple of Doom, praised the graphics, platforming and Challenge Tombs, but criticized the lack of combat sections from the previous games and the story narrative. He concluded that Shadow of the Tomb Raider was "solid and definitely has an audience. There could be some hard-to-ignore faults, but the experience is fun".[31]

Conversely, VideoGamer's Josh Wise wrote "the game's power ebbs as the main quest is bloated with distraction", and the writing is "still patchy and dull", though he praised the platforming, setting and the Challenge Tombs.[36] Edmond Tran of GameSpot also gave a mixed review, criticizing the game's side quests and Lara's character development while praising the story missions, graphics, environments and explorable tombs.[34]


where is the place named surya kund situated in haryana

Bilaspur town, named after the writer of the Mahabharata - Maharishi Vyasa, is a historical place. It is supposed that there was an Ashram of Ved Vyas on the bank of a pond situated here. The statue of Uma Mahadev made in 9th-10th century, and statue of Ganesha made in 11th-12th century and remains of Gupta Empire prove the antecedence of Kapalmochan. People came from all parts of the country feel spiritual elevated by taking bath here in ponds (kunds) known as Rinmochan, Kapalmochan and Surya kund. There is also a Hindu temple and Gurudawara of Dasham Padhashahi where the tenth guru of the Sikhs Guru Gobind Singh stayed. On the occasion of Guru Nanak Dev Jayanti, a huge gathering of devotees of both Sikh and Hindu origin takes place.

Jagadhri

Jagadhri is a city and a municipal council in the Yamunanagar district of the Indian state of Haryana. This town lies adjacent to the city of Yamunanagar a relatively newer development. The demarcation line between the two is difficult to discern. Jagadhri is around 100 km away from Chandigarh, the capital city of Haryana state. Jagadhri holds record of maximum rain in 24 hours that was on 14 July 2016 which 383 mm means 15 inches in just 6 hours.[1]

Jagadhari, corrupted form of its old name Yugandhari, was named after the king of the Yugandharas. Yugandharas find mention in Mahabharata as well as Buddhist texts as region with warriors or mountains. Yugandhara likely was used for a region inhabited by a tribe of that name and it comprised some mountainous tracts also which were given the same name.[2]

Excavations have found the punch marked square coins, a greek hemidrachm coin of Indo-Greek king Apollodotus I or Apollodotus II (1st and 2nd century BCE ) and one of Antimachus I/Antimachus II (2nd century BCE), a gold coin of Samudragupta (ruled 336-380 CE) and other coins of the period up to the Prithviraj Chauhan and Tomara dynasty kings of Delhi. It was likely the capital city of a Janapada.[2]

The town was known historically for its metal work and brass ware including utensils. Nowadays[when?] production of brass ware has fallen off, due to high costs and the city has successfully transitioned to the manufacture of aluminium and stainless steel products. Moreover, Jagadhri has also witnessed the growth of a new timber trade in the last decade.[when?]

There are many old temples, such as LathMar Mandir, Khera Mandir, Gauri Shankar Mandir and Guga Madi Mandir, Devi Mandir (Mansa Devi).

As of the 2011 Census of India[update], the town had 26,716 households with a total population of 124,894 of which 67,685 were male and 57,209 female.[3] Jagadhari has an average literacy rate of 71%, higher than the national average of 59.5%: male literacy is 73%, and female literacy is 68%. In Jagadhari, 12% of the population is under 6 years of age.

Tajewala Barrage, completed in 1873, is where the Yamuna loses its waters to the Western and Eastern Yamuna Canals that supply water for irrigation and the Delhi waterworks. The Tajewala was replaced by the Hathnikund Barrage in 1999.[5]

Buria is a famous town situated 8Â km away from Jagadhari. It is said that Humayun came here for hunting in Shivalik forests and constructed Rang-Mahal. Many people guess the relation of 'Rang-Mahal' to Raja Birbal, one of the Navaratnas of Akbar.

Buria is also known as Buria Sahib because of a well-known Gurudwara related to Guru Teg Bahadur, ninth guru of Sikhs. An old Shiva Temple is also located in Buria. In nearby Dayalgarh, is the renovated old temple of Shree Paataaleshvar Mahadev with a garden and some ashrams of saints made during medieval times.

The temple is situated on the road coming from Bilaspur to Chhachhrauli, 4Â km away from Bilaspur and attracts large numbers of people. This temple has a Vigrah of ShriHanuman Ji with five faces, contributing to temple's name, Panchmukhi (five faces). It is believed that wishes come true here, after the 20th day of the Diwali on the Occasion.It is believed that the five Pandavas visited this place and prayed to Lord Hanuman by creating his five faces. The premises of the Temple has been greatly renovated during the recent years and has good facilities for the devotees.

The main tehsil situated in north east and 11Â km from Jagadhri. In the past it was the capital of the Sikh state of Kalsia. Created by Raja Gurbaksh Singh in 1763. Today 'Ravi Mahal', Ghantaghar, Janak Niwas and the fort have their own dignity. There is also a Sainik Parivar Bhawan & Bal-kunj social welfare institution at Chhachrauli. It is known as "Cherapunjji of Haryana" as it receives the highest rainfall in Haryana.

This village is situated north east from Chhachhrauli near Kalesar - it is supposed to be connected with King Shantanu of Mahabharata.

It lies 23 km north of Yamuna Nagar town. It is approachable by road via Bilaspur and is about 2 km from the nearest village Kathgarh. Located in the foothills of the Shivalik Hills, it has the Adi-Badri Narayana, Shri Kedar Nath and Mantra Devi Temples in the background. Three mounds of antiquities have recently been excavated by the Archaeological Survey of India.[citation needed]

Chaneti Buddisht Stupa is situated 3Â km away from Jagadhri. It is round in shape, made of bricks, 8 meters in height, in the area of about 100 sq meters, is an old Buddhist Stupa. According to Hieun Tsang, this was built by the King Ashoka.[2]

Panjtirthi is situated 15Â km away from Yamuna Nagar Topra Kalan to Harnol road. There are Lord Rama, Sita, Pandavas, Shiv temples, a Gurudwara and sacred pond.

It is an old historical place. It was said that people coming from Haridwar and all the religious places of Himachal Pradesh used to take rest here. It was known as the 'Sadhu-raha' in the past.


what is the meaning of v6 in cars

A V6 engine is a V engine with six cylinders mounted on the crankshaft in two banks of three cylinders, usually set at either a 60 or 90 degree angle to each other. The V6 is one of the most compact engine configurations, usually ranging from 2.0 L to 4.3 L displacement (however, much larger examples have been produced for use in trucks), shorter than the inline 4 and more compact than the V8 engine. Because of its short length, the V6 fits well in the widely used transverse engine front-wheel drive layout.

V6 engine

The V6 is commercially successful in mid-size cars in the modern age of high fuel prices and price sensitive consumers because it is less expensive to build and has better fuel consumption than the V8, while being smoother in large sizes than the inline 4, which develops increasingly serious vibration problems in larger engines. The wider 90° V6 will fit in an engine compartment designed for a V8, providing a low-cost alternative to the V8 in an expensive car, while the narrower 60° V6 will fit in most engine compartments designed for an I4, proving a more powerful and smoother alternative engine to the four. While not perfectly smooth, the V6 is smoother than the I4 and adequately smooth for the average consumer. Buyers of luxury and/or performance cars who are not price sensitive or fuel economy minded might prefer an inline 6, which has comparable fuel economy and power but better smoothness, a flat 6 which combines better smoothness and often higher power with adequate fuel economy, or a V8 which has higher power, but worse fuel economy.

Recent forced induction V6 engines have delivered horsepower and torque output comparable to contemporary larger displacement, naturally aspirated V8 engines, while reducing fuel consumption and emissions, such as the Volkswagen Group's 3.0 TFSI which is supercharged and directly injected, and Ford Motor Company's turbocharged and directly injected EcoBoost V6, both of which have been compared to Volkswagen's 4.2 V8 engine.[1]

Modern V6 engines commonly range in displacement from 2.0 to 4.3 L (120 to 260 cu in), though larger and smaller examples have been produced, such as the 1991 Mazda MX3,[2] and the Rover KV6 engine.

In Europe, where petrol is much more expensive than in the USA, V6 diesels have proved a more popular option. The American-designed Chrysler 300C has a 3-litre Mercedes V6 engine, which vastly outsells the petrol-engined car.

Some of the first V6-powered automobiles were built in 1905 by Marmon. This firm became something of a V-engine specialist; beginning with V2 engines, then V4s, V6s, V8s, and, in the 1930s, a V16 engine. Marmon was one of the few automakers of the world to offer a V16-powered automobile.[3]

From 1908 to 1913 the Deutz Gasmotoren Fabrik produced gasoline-electric train sets (Hybrid) which used a V6 as generator engine.[4]

In 1918 Leo Goosen designed a V6-powered car for Buick Chief Engineer Walter L. Marr. Only one prototype Buick V6 car was built in 1918; it was long used by the Marr family.[5]

The first series-production V6 was introduced by Lancia in 1950 with the Lancia Aurelia model.[6] Lancia sought a smoother and more powerful engine that would fit into an existing narrow engine bay. A Lancia engineer, Francesco De Virgilio, began analyzing the vibration of alternative V-angles for a V6 engine in 1943. He found that a V6 with its cylinders positioned at a 60Â° V-angle could be made uniquely smooth-running in comparison with other possible V-angles. There was resistance to his conclusion, because the V6 was a virtually unknown engine type in the 1950s. His design featured four main bearings and six crankpins, resulting in evenly spaced firing intervals and low vibrations.[7]

Other manufacturers took note and soon other V6 engines were designed. In 1959, General Motors' GMC Truck division introduced a new 60-degree heavy-duty 305 in3 (5.0 L) gasoline-fueled 60° V6 for use in their pickup trucks and Suburbans; this engine design was later enlarged to 478 in3 (7.8 L) for heavy truck and bus use. The use of the sweet spot of 60 degrees' V-angle maximized power while minimizing vibration and exterior dimensions of the engine. In short, GMC introduced a compact V6 design at a time when the straight-six engine was considered the pinnacle of 6-cylinder design.[8]

1962 saw the introduction of the Buick Special, which offered a new 90° V6 with uneven firing intervals that was derived from—and shared some parts commonality with—a small Buick V8 engine of the period. To save design time and expense, it was built much like a V8 that had two cylinders chopped off. The combination of a 90° V-angle with only three crank pins—set at 120° apart, with opposing cylinders sharing a crank pin as most V8 engines do—the cylinders fired alternatively at 90 and 150° of crankshaft rotation. This uneven firing caused harmonic vibrations in the drive train that were perceived as a rough-running engine by the buyers. GM sold the engine tooling to Kaiser-Jeep in 1967; later, as a result of the 1973 oil crisis, GM repurchased the tooling in 1974. In 1977, Buick introduced a split pin crankshaft to implement an even-fire version of this engine in which cylinders fired consistently every 120°.

The V6 does not have the inherent freedom from vibration that the inline-six and flat-six have, but it can be modeled as two separate straight-3 engines sharing a crankshaft. Counterweights on the crankshaft and a counter rotating balance shaft are required to compensate for the first order rocking motions.

Straight engines with an odd number of cylinders are inherently unbalanced because there are always an odd number of pistons moving in one direction while a different number move the opposite direction. This causes an end-to-end rocking motion at crankshaft speed in a straight-three engine. V6 designs will behave like two unbalanced three-cylinder engines running on the same crankshaft unless steps are taken to mitigate it, for instance by using offset journals or flying arms on the crankshaft or a counter-rotating balance shaft.

In the straight-six engine layout, the two halves of the engine are mirror images of each other and the end-to-end rocking motions of each half become a bending moment which can be resisted by using a sufficiently stiff engine block. In the horizontally opposed flat-6 (an example being the "boxer"-type engine), layout the rocking motions of the two straight-three cylinder banks almost completely offset each other, except for a small moment caused by the fact that the cylinders must be offset slightly. This results in an engine which is short, light, and relatively smooth, but too wide for most engine compartments. It is widely used in light aircraft though, and in some automobile engines, by manufacturers such as Porsche and Subaru.

In the V6 with 120° between banks, pairs of connecting rods can share a single crank pin, but the two cylinder banks run like two inline 3, both having an end-to-end rocking couple. Unlike in a V8 engine with a crossplane crankshaft, the vibrations from one bank do not cancel the vibrations from the other, so a rotating balancing shaft is required to compensate for the primary vibrations. Because the 120° V6 is nearly as wide as a 180° flat-6 but is not nearly as smooth, and can be more expensive if a balancing shaft is added, this configuration is seldom seen in production engines.

In the V6 with 90° between cylinders, split crank pins are required to offset the connecting rods by 30° to achieve an even 120° between firing intervals, and crankshaft counterweights are required to offset the primary imbalances. In the 90° V6, a balancing shaft is desirable but not entirely necessary to minimize second-order vibrations, depending on the level of smoothness required. The main advantage of the 90° V6 is that it can easily be derived from an existing 90° V8 design, and use the same parts as the V8.

Unfortunately, a 90째 V6 cannot use the same technique that balances an even firing 90째 crossplane V8 engine; rotating the middle two cranks to 90째 from the outer two, using extra-heavy counterweights on the crankshaft to offset the rocking motion, and then using the mass of the pistons in the other cylinder bank at 90째 to counteract the side-to-side rotation that the heavy counterweights would otherwise cause (resulting in an engine that is in perfect primary and secondary balance, albeit one with very heavy crankshaft counterweights and uneven firing intervals into the exhaust headers, resulting in the familiar V8 "burbling" exhaust note).

A simple 90° V6 cannot achieve the same smoothness with only crankshaft counterweights, and if the 90° V6 uses shared crankpins like the V8, the engine will have uneven firing intervals, such as in the original "odd-fire" Buick V6 engine. This uneven firing interval results in roughness at idle and low RPM, and varying harmonics at higher engine speeds, making the "odd-fire" configuration unpopular with buyers, so most manufacturers now use split crankpins to make the firing intervals an even 120°. Therefore, designing a smooth V6 engine is a much more complicated problem than the straight-6, flat-6, and V8 layouts. Although the use of offset crankpins, counterweights, and flying arms has reduced the problem to a minor second-order vibration in modern designs, all V6s can benefit from the addition of auxiliary balance shafts to make them completely smooth.[9]

When Lancia pioneered the 60° V6 in 1950, they used a 60° angle between the cylinder banks and a six-throw crankshaft to achieve equally spaced firing intervals of 120°. This still has some balance and secondary vibration problems. When Buick designed a 90° V6 based on their 90° V8, they initially used a simpler three-throw crankshaft laid out in the same manner as the V8 with pairs of connecting rods sharing the same crankpin, which resulted in firing intervals alternating between 90° and 150°. This produced a rough-running design which was unacceptable to many customers. Arguably, the roughness is in the exhaust note, rather than noticeable vibration, so the perceived smoothness is rather good at higher RPM. Later, Buick and other manufacturers refined the design by using a split-pin crankshaft which achieved a regular 120° firing interval by staggering adjacent crankpins by 15° in opposite directions to eliminate the uneven firing and make the engine reasonably smooth.[10] Some manufacturers such as Buick in later versions of their V6 and Mercedes Benz have taken the 90° design a step further by adding a balancing shaft to offset the primary vibrations and produce an almost fully balanced engine.

Some designers have reverted to a 60° angle between cylinder banks, which produces a more compact engine, but have used three-throw crankshafts with flying arms between the crankpins of each throw to achieve even 120° angles between firing intervals. This has the additional advantage that the flying arms can be weighted for balancing purposes.[10] This still leaves an unbalanced primary couple, which is offset by counterweights on the crankshaft and flywheel to leave a small secondary couple, which can be absorbed by carefully designed engine mounts.[11]

Six-cylinder designs are also more suitable for larger displacement engines than four-cylinder ones because power strokes of pistons overlap. In a four-cylinder engine, only one piston is on a power stroke at any given time. Each piston comes to a complete stop and reverses direction before the next one starts its power stroke, which results in a gap between power strokes and annoying harshness, especially at lower revolutions. In a six-cylinder engine (other than odd-firing V6s), the next piston starts its power stroke 60Â° before the previous one finishes, which results in smoother delivery of power to the flywheel. In addition, because inertial forces are proportional to piston displacement, high-speed six-cylinder engines will suffer less stress and vibration per piston than an equal displacement engine with fewer cylinders.

Comparing engines on the dynamometer, a typical even-fire V6 shows instantaneous torque peaks of 150% above mean torque and valleys of 125% below mean torque, with a small amount of negative torque (engine torque reversals) between power strokes. On the other hand, a typical four-cylinder engine shows peaks of nearly 300% above mean torque and valleys of 200% below mean torque, with 100% negative torque being delivered between strokes.

In contrast, a V8 engine shows peaks of less than 100% above and valleys of less than 100% below mean torque, and torque never goes negative. The even-fire V6 thus ranks between the four and the V8, but closer to the V8, in smoothness of power delivery. An odd-fire V6, on the other hand, shows highly irregular torque variations of 200% above and 175% below mean torque, which is significantly worse than an even-fire V6, and in addition the power delivery shows large harmonic vibrations that have been known to destroy the dynamometer.[12]

A V6 engine with a 60 degree included angle between cylinder banks hits the "sweet spot" in V6 engine design due to several desirable characteristics. Unlike most other V6 layouts, 60 degree engines can be made acceptably smooth without using a balance shaft. Although the engine will not be as smooth-running as an inline six or opposed six cylinder engine, modern design and mounting techniques can eliminate objectionable vibration.

In the 60 degree design, the connecting rods are attached to individual crankpins, which are angularly displaced at 120 degree intervals. This geometry results in an even firing interval, eliminating primary vibration and reducing secondary vibration to acceptable levels.

Lancia's pioneering design in 1950 utlized a six-throw crankshaft to achieve the required 120 degree angular displacement between crankpins. The GMC V6 engine, designed for commercial vehicles, also used a six-throw crankshaft, and was intentionally made physically massive in order to further dampen vibration, as well as to enhance durability. However, more recent designs often use a three-throw crankshaft with what are termed flying arms between the crankpins, which not only produce the required angular crankpin displacement, but also can be used for balancing purposes. Combined with a pair of heavy counterweights on the crankshaft ends, flying arms can eliminate all but a modest secondary imbalance, which can readily be dampened by the engine mounts.[1]

The 60 degree design is one of the most compact engine layouts, being nearly a perfect cube that will fit longitudinally or transversely in most engine compartments. Hence the 60 degree configuration is a good fit in automobiles which are too large to be powered by four-cylinder engines, but in which compactness and low cost are important considerations. The most common 60 degree V6s were produced by General Motors (the aforementioned GMC commercial engine, as well as a design used in many GM front-wheel-drive automobiles) and Ford European subsidiaries (Essex V6, Cologne V6 and the more recent Duratec V6). Other 60 degree V6 engines are the Chrysler 3.3 engine, the Nissan VQ engine, the Mazda K engine, the Alfa Romeo V6 engine, the Mitsubishi 6G7 series of engines, many Toyota V6 engines and later versions of the Mercedes-Benz V6 engine.

Many manufacturers, particularly American ones, built V6 engines with an angle of 90 degrees because they already had a successful V8 and needed to create a smaller, lighter engine with better fuel economy to meet market demand. Such configurations were easy to design by removing two cylinders from an existing V8 engine design. In some cases, the first prototypes were created by simply sawing two cylinders out of a V8 engine, welding the block back together, and forging a 3-throw crankshaft to replace the V8 4-throw crank. This reduced design costs, allowed the new V6 to share components with the old V8, and sometimes allowed manufacturers to build V6s on the same production line as V8s.

Although it was relatively easy to create a 90° V6 by simply cutting two cylinders off an existing V8 engine, this produced an engine which was wider and more vibration-prone than a 60° V6. The design was first used by Buick when it introduced its 198 CID Fireball V6 as the standard engine in the 1962 Special. The Buick V6 was notable because it had uneven firing intervals between power strokes as a result of using the 90° cylinder bank angle and sharing crankpins between piston pairs as in the V8 engine. Rather than firing evenly every 120° of crankshaft rotation, the cylinders fired alternately at 90° and 150°, resulting in strong harmonic vibrations at certain engine speeds. These engines were often referred to by mechanics as "shakers", due to the tendency of the engine to vibrate at idle speed. Other examples included the Maserati V6 used in the Citroën SM, the PRV V6, the Rover KV6 (2.0- and 2.5-litre), the Honda C engine used in the NSX, Chevrolet's 4.3 L Vortec 4300 and Chrysler's 3.9 L (238 in3) Magnum V6 and 3.7 L (226 in3) PowerTech V6.

More modern 90° V6 engine designs avoid these vibration problems by using more sophisticated crankshafts with split crankpins offset by 30° between piston pairs to make the firing intervals an even 120°. They often add balancing shafts to eliminate the other vibration problems inherent in the layout. Examples include the later versions of the Buick V6, Chevrolet Vortec 4300, and earlier versions of the Mercedes-Benz V6. The 90° Mercedes V6, although it was designed to be built on the same assembly lines as the V8, used split crankpins, a counter-rotating balancing shaft, and careful acoustic design to make it almost as smooth as the inline-6 it replaced. However, in later versions Mercedes changed the cylinder banks to a 60° angle to make the engine more compact and eliminate the balancing shaft. Despite the difference in V angles, Mercedes modified its production lines so it could build 60° V6s on the same assembly lines as 90° V8s.[13]

At first glance, 120° might be considered the natural angle for a V6 since pairs of pistons in alternate banks can share crank pins in a three-throw crankshaft, and the cylinders will fire evenly every 120° of crankshaft rotation. Unlike the 60° or 90° configurations, it does not require crankshafts with flying arms, split crankpins, or seven main bearings to be even-firing. This is equivalent to the 90° V8 in which cylinders fire every 90°. However, in the 120° V6 there is a primary dynamic imbalance caused by the fact there are an odd number of cylinders in each bank. At any given time in, each bank, two cylinders will be moving up while one moves down, and vice-versa. Each cylinder bank acts like a straight-3 and experiences a strong vibration at crankshaft speed.

By contrast, in the 90Â° V8 engine with a simple flat-plane crankshaft, each cylinder bank acts like a straight-4, which is much smoother than a straight-3. In addition, in 1915 the crossplane crankshaft was invented, which allowed the secondary vibrations from one cylinder bank of a V8 to cancel those from the other cylinder bank. This resulted in an almost perfectly smooth V8 engine which has been popular in luxury and sports cars since 1923.

Unfortunately, the crossplane crankshaft does not work for the V6. There is no way to arrange the 120° V6 so that unbalanced forces from the two cylinder banks will completely cancel each other. As a result, the 120° V6 acts like two straight-3s running on the same crankshaft and suffers from a primary dynamic vibration which requires a balance shaft to cancel. This has limited its use to trucks and racing cars where vibration is not as important as in passenger cars.

The 120° layout also produces an engine which is too wide for most automobile engine compartments, so it is more often used in racing cars where the car is designed around the engine rather than vice versa, and light weight and low center of gravity are major considerations. By comparison, the 180° flat-6 boxer engine is only moderately wider than the 120° V6, and is an almost fully balanced configuration with few vibration problems. It can be scaled up to very large and powerful configurations, so it has been commonly used in aircraft and in sports/luxury cars where space is not a constraint, but power and smoothness are important.

Spanish truck manufacturer Pegaso built the first production 120Â° V6 for the Z-207 midsize truck in 1955. The engine, a 7.5-litre alloy Diesel designed under the direction of engineer Wifredo Ricart uses a single balance shaft rotating at the speed of the crankshaft[14]

Ferrari introduced a very successful 120째 V6 racing engine in 1961. The Ferrari Dino 156 engine was shorter and lighter than the 65째 Ferrari V6 engines that preceded it, and the simplicity and low center of gravity of the engine was an advantage in racing. It won a large number of Formula One races between 1961 and 1964. However, Enzo Ferrari had a personal dislike of the 120째 V6 layout, preferring a 65째 angle, and after that time it was replaced by other engines.[15]

Bombardier designed 120° V220/V300T V6 engines for use in light aircraft. A balance shaft on the bottom of the engine offset the primary dynamic imbalance. However, it was costly, the market was small, and it had no overwhelming advantages over the 180° flat-6 engines already in common use in light planes. The design was shelved in 2006 and there are no plans for production.[16]

Volkswagen's VR6 engines are a family of V6 engines characterized by extremely narrow-angle (10.5째 or 15째) V configurations. These engines were developed by the manufacturer in the late 1980s for transverse engine installations in its front-wheel drive vehicles, which were originally designed for straight-4 engines. The wider configuration of a wider angle V6 engine would have required an extensive redesign of the vehicles to enlarge the engine compartment. The narrow angle of 15째 (and later 10.5째) between the two cylinder banks in the VR6 engine made it much narrower than other V6 designs. The VR6 engine is only moderately longer and wider than a straight-4 engine but has 50% greater engine displacement. This made it possible to install more powerful six-cylinder engines in existing four-cylinder cars.[17]

The VR6 engine is also smoother than most V6s without balance shafts. It uses a firing order of 1,5,3,6,2,4 similar to a straight-6 rather than a more typical V6 firing order like 1,2,3,4,5,6. In terms of balance and smoothness the VR6 acts more like a staggered-cylinder straight-6 rather than a conventional V6.

The narrow angle between cylinders allows the use of just one cylinder head that covers both cylinder banks, whereas wider angle V engines require two separate cylinder heads, one for each cylinder bank. The VR6 arrangement has "twin SOHC" valve gear operating the 24 valves via rocker arms; it is NOT a true DOHC design. This simplifies engine construction and reduces costs. Since there is no room in the V between the cylinder banks for an intake system, all the intakes are on one side of the engine, and all the exhausts are on the other side.[17] This system is efficient and simplifies installation into the engine compartment.

The Volkswagen VR6 was originally designed as a 2.8 litre engine, but some versions have been built as large as 3.6 litres in size. In addition to Volkswagen, VR6 engines have also been used by Audi and Porsche, although Audi also uses its own designs of wider-angle V6s. Some other manufacturers have also used VR6 engines in their vehicles.

Other angle V6 engines are possible but can suffer from severe vibration problems unless very carefully designed. Notable V6 bank angles include:

Many older V6 engines were based on V8 engine designs, in which a pair of cylinders was cut off the front of V8 without altering the V angle or using a more sophisticated crankshaft to even out the firing interval. Most V8 engines share a common crankpin between opposite cylinders in each bank, and a 90° V8 crankshaft has just four pins shared by eight cylinders, with two pistons per crankpin, allowing a cylinder to fire every 90° to achieve smooth operation.

Early 90° V6 engines derived from V8 engines had three shared crankpins arranged at 120° from each other. Since the cylinder banks were arranged at 90° to each other, this resulted in a firing pattern with groups of two cylinders separated by 90° of rotation, and groups separated by 150° of rotation, causing a notorious odd-firing behavior, with cylinders firing at alternating 90° and 150° intervals. The uneven firing intervals resulted in rough-running engines with unpleasant harmonic vibrations at certain engine speeds.

An example is the Buick 231 odd-fire, which has a firing order 1-6-5-4-3-2. As the crankshaft is rotated through the 720° required for all cylinders to fire, the following events occur on 30° boundaries:

More modern 90° V6 engines avoid this problem by using split crankpins, with adjacent crankpins offset by 15° in opposite directions to achieve an even 120° ignition pattern. Such a'split' crankpin is weaker than a straight one, but modern metallurgical techniques can produce a crankshaft that is adequately strong.

In 1977, Buick introduced the new "split-pin crankshaft" in the 231. Using a crankpin that is'split' and offset by 30° of rotation resulted in smooth, even firing every 120°. However, in 1978 Chevrolet introduced a 90° 200/229 V6, which had a compromise'semi-even firing' design using a crankpin that was offset by only 18°. This resulted in cylinders firing at 108° and 132°, which had the advantage of reducing vibrations to a more acceptable level and did not require strengthening the crankshaft. In 1985, Chevrolet's 4.3 (later the Vortec 4300) changed it to a true even-firing V6 with a 30° offset, requiring larger crank journals to make them adequately strong.

In 1986, the similarly designed 90° PRV engine adopted the same 30° crankshaft offset design to even out its firing. In 1988, Buick introduced a V6 engine that not only had split crankpins, but had a counter-rotating balancing shaft between the cylinder banks to eliminate almost all primary and secondary vibrations, resulting in a very smooth-running engine.

The V6 engine was introduced into racing by Lancia in the early 1950s. After good results with privately entered Aurelia saloons Lancia set a works competition department in 1951. Four B20 Coupes were entered in the '51 Mille Miglia and the one driven by Giovanni Bracco and Umberto Maglioli caused quite a stir by finishing second overally after the 4.1-litre Ferrari driven by Villoresi and Cassani, a car which had three times more power than the Lancia. After that encouraging start Lancia decided to carry on with the endurance racing program, first with specially prepared Aurelias (called Da Corsa) and then with specially built prototypes. A D24 with a 3,102 cc (189 cu in) V6 making 230 PS (170 kW) won the 1953 Carrera Panamericana with Juan Manuel Fangio at the wheel.

After that came the Ferrari Dino V6. Alfredo Ferrari (nicknamed Dino), son of Enzo Ferrari, suggested to him the development of a 1.5 L DOHC V6 engine for Formula Two at the end of 1955. The Dino V6 underwent several evolutions, including an increased engine displacement to 2,417 cc (147 cu in), for use in the Ferrari 246 Formula One car in 1958.[18][19]

The use of a wide 120° bank angle is appealing for racing engine designers as it permits a low center of gravity. This design is even considered superior to the flat-6 in that it leaves more space under the engine for exhaust pipes; thus the crankshaft can be placed lower in the car. The Ferrari 156 built for new Formula One 1.5 L regulations used a Dino V6 engine with this configuration.[20]

The Dino V6 engine saw a new evolution in 1966 when it was adapted to road use and produced by a Ferrari-Fiat joint-venture for the Fiat Dino and Dino 206 GT (this car was made by Ferrari but sold under the brand Dino). This new version was redesigned by Aurelio Lampredi initially as a 65° 2.0 L (120 cu in) V6 with an aluminum block but was replaced in 1969 by a 2.4 L (150 cu in) cast-iron block version (the Dino car was renamed the 246GT).

The Fiat Dino and Dino 246GT were phased out in 1974, but 500 engines among the last built were delivered to Lancia, who was like Ferrari already under the control of Fiat. Lancia used them for the Lancia Stratos which would become one of the most successful rally cars of the decade.

The Alfa Romeo V6 was designed in the 1970s by Giuseppe Busso, the first car to use them being the Alfa Romeo 6. The over-square V6, with aluminium alloy block and heads, has seen continuous use in road vehicles, from the Alfetta GTV6 onwards. The 164 introduced a 3.0 L (180 cu in) V6, a 2.0 V6 turbocharged in 1991 and in 1992, a 3.0 L DOHC 24-valve version. The Alfa 156 introduced a 2.5 L DOHC 24-valve version in 1997. The engine capacity was later increased to 3.2 L (200 cu in), where it found application in the 156 GTA, 147 GTA, 166, GT, GTV and Spider 916. Production was discontinued in 2005.

A notable racing use of the V6 engine was the Alfa Romeo 155 V6 TI, designed for the 1993 Deutsche Tourenwagen Meisterschaft season and equipped with a 2.5 L (150 cu in) engine making a peak power of 490 PS (360 kW; 480 hp) at 11,900 rpm.

Another influential V6 design was the Renault-Gordini CH1 V6, designed by François Castaing and Jean-Pierre Boudy, and introduced in 1973 in the Alpine-Renault A440. The CH1 was a 90° cast-iron-block V6, similar to the mass-produced PRV engine in those two respects but otherwise dissimilar. It has been suggested that marketing purposes made the Renault-Gordini V6 adopt those characteristics of the PRV in the hope of associating the two in the public's mind.

Despite such considerations, this engine won the European 2 L prototype championship in 1974 and several European Formula Two titles. This engine was further developed in a turbocharged 2 L version that competed in Sports car and finally won the 24 Hours of Le Mans in 1978 with a Renault-Alpine A 442 chassis.

The capacity of this engine was reduced to 1.5 L to power the Formula One Renault RS01. Despite frequent breakdowns that resulted in the nickname of the 'Little Yellow Teapot', the 1.5 L finally saw good results in 1979.

Ferrari followed Renault in the turbo revolution by introducing a turbocharged derivative of the Dino design (a 1.5 L 120° V6) with the Ferrari 126.[21] However, the 120° design was not considered optimal for the wing cars of the era and later engines used V angles of 90° or less.

Both Renault and Ferrari failed in their attempt to win the Drivers' Championship with V6 Turbo engines. The first turbocharged engine to win the championship was the Straight-4 BMW.

They were followed by a new generation of Formula One engines, the most successful of these being the TAG V6 (designed by Porsche) and the Honda V6. This new generation of engines were characterized by odd V angles (around 80Â°). The choice of these angles was mainly driven by aerodynamic consideration. Despite their unbalanced designs these engines were both quickly reliable and competitive; this is generally viewed as a consequence of the quick progress of CAD techniques in that era.

In 1989 Shelby tried to bring back the Can-Am series, using the Chrysler 3.3 L (201 cu in) V6 (not yet offered to the general public) as the powerplant in a special racing configuration making 255 hp (190 kW). This was the same year that the Viper concept was shown to the public.

Originally the plan was to produce two versions of this race car, a 255 hp (190 kW) version and a 500 hp (370 kW) model, the 255 hp (190 kW) version being the entry circuit. The cars were designed to be a cheap way for more people to enter auto racing. Since all the cars were identical, the winners were to be the people with the best talent, not the team with the biggest pockets. The engines had Shelby seals on them and could only be repaired by Shelby's shop, ensuring that all the engines are mechanically identical.

Only 100 of these 3.3s were ever built. Of these 100, 76 were put into Shelby Can-Am cars (the only 76 that were ever sold). No significant amount of spare parts were produced, and the unsold engines were used for parts/spares. The Shelby specific parts, such as the upper intake manifold, were never made available to the general public. According to a small article in the USA Today (in 1989), these cars were making 250 hp (190 kW) (stock versions introduced in 1990 produced 150 hp or 110 kW) and hitting 160 mph (260 km/h) on the track. The engine itself was not that far from a standard-production 3.3. The Shelby engine is only making about 50 hp (37 kW) more than the newest 3.3 factory engines from Chrysler. The Can-Am engine has a special Shelby Dodge upper intake manifold, a special Shelby Dodge throttle body, and a special version of the Mopar 3.3 PCM (which had this engine redlining at 6800 rpm).

Nissan also has a quite successful history of using V6's for racing in both IMSA and the JGTC. Development of their V6s for sports cars began in the early 1980s with the VG engine initially used in the Z31 300ZX. The engine began life as a SOHC, turbocharged 3.0L power plant with electronic fuel injection, delivering 230 PS (169 kW). The VG30ET was later revised into the VG30DETT for the Z32 300ZX in 1989. The VG30DETT sported both an additional turbocharger and an extra pair of camshafts, making the engine a genuine DOHC twin-turbo V6 producing 300 PS (221 kW). Nissan used both of these engines in its AIMS racing program throughout the 1980s and 1990s each producing well over 800 hp (600 kW). In the Japan Grand Touring Car Championship, or JGTC, Nissan opted for a turbocharged version of its VQ30 making upwards of 500 hp (370 kW) to compete in the GT500 class.

V6 turbos have been used in the IndyCar Series since 2012, with Chevrolet and Honda currently supplying the engines. Lotus also made engines in the 2012 season, but pulled out at the end of the year.

The 2014 Formula One season included the return of the V6 engine to Formula One, in the form of a regulation mandated, turbocharged 1.6L 90Â° hybrid engine. This engine integrates the combustion engine with a (mandated maximum output) 161 bhp (120 kW)'motor generator unit' electric motor system consisting of a'motor generator unit - kinetic' component, which is the electric motor itself, capable of energy recovery through regenerative braking and a'motor generator unit - heat' component, which is a similar system integrated into the turbocharging system, to allow the elimination of turbolag and additional system charging through the turbocharger once the turbine system is kept up at speed by exhaust gasses.

Laverda showed a 996Â cc V6-engined motorcycle at the 1977 Milan show.[22] The motorcycle was raced in the 1978 Bol d'Or.

V6 engines are popular powerplants in medium to large outboard motors.


who wrote have i told you that i love you

"Have I Told You Lately That I Love You?" is a popular song written by Scotty Wiseman and published in 1945.[1] It was the greatest hit of Wiseman and his wife and one of the first country music songs to attract major attention in the pop music field.

Have I Told You Lately That I Love You?

Bing Crosby and The Andrews Sisters recorded the song on November 25, 1949[2] and it had a good reception from the trade magazine Billboard who said: "Dittyâ€™s a sprightly mountain-musiker that had its innings a couple of years back on straight hillbilly diskings. Bing and the gals are in top form as they harmonize it to a spanking fare-thee-well."[3] The record entered the Billboard charts on January 21, 1950 and in a four-week stay it peaked at No. 24.[4]

Lulu Belle and Scotty released their version in 1956 on a Mercury Records 45 rpm single.

The earliest and easily most prominent recording of "Have I Told You Lately That I Love You" in the early rock era was by Elvis Presley. According to the book of the CD-boxset "Elvis - The Complete 50's Masters", Presley recorded it on January 19, 1957, at RCA's Radio Recorders in Hollywood for his Loving You album. Session musicians for the song included Presley himself on rhythm guitar, his usual lead guitarist Scotty Moore, with Bill Black on bass, D.J. Fontana on drums, piano by Dudley Brooks, organ by Hoyt Hawkins, and background vocals were of course The Jordanaires. When the song was included on the Loving You album release in July 1957, it immediately prompted both Ricky Nelson and Eddie Cochran to record cover versions of the song. Nelson's was the "B" side of a hit single ("Be-Bop Baby", released in September), while Cochran's was an album cut (released in November). The impact of the Elvis version was felt across the Atlantic.

Eddie Cochran recorded his version in August 1957 and released it on the album Singin' to My Baby. Musicians on the session were: