1963 Israel POP UP 3-D BOOK Hebrew NOAH\'S ARK Jewish JUDAICA Biblical BIBLE
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1963 Israel POP UP 3-D BOOK Hebrew NOAH\'S ARK Jewish JUDAICA Biblical BIBLE:
$95.00
DESCRIPTION : Up for sale is a genuine ISRAELIABNA - JUDAICA GEM. This exceptionaly rare HEBREW POP UP book is an ORIGINAL Israeli creation .It was DESIGNED , MANUFACTURED and PUBLISHED in 1963 , Tel Aviv Israel bypublisher A.Naor . Designed by Theora . It\'s important to emphasize - This isnot an Israeli - Hebrew adoptation-translation of a foreign book . This isindeed a genuine ISRAELI - HEBREW POP UP BOOK . The Biblical storyofNOAHand his ARK,wasadopted to a shortened childrens\' book text. The book consists of FOURPOP UP scenes , Designed to the best ability of the Israeli pop up designers.All the pop up mechanical parts are intact and working. No part is missing .Original illustrated cardboard cover. Around 10 x 7\" . Four POP UPscenes ( 8 pp ) . Very good condition. Slight over and spine wear . ( Pls look at scan for accurate AS IS images ). Will be sent in a specialprotective rigid package.
PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : Shipp worldwide via registered airmail is $18 . Will be sent in a special protective rigid package. Handling within 3-5 days after payment. Estimated Int\'l duration around 14 days.
The epithet pop-up is often applied to any three-dimensional or movable book, although properly the umbrella term movable book covers pop-ups, transformations, tunnel books, volvelles, flaps, pull-tabs, pop-outs, pull-downs, and more, each of which performs in a different manner. Also included, because they employ the same techniques, are three-dimensional greeting cards. Pop-up types Design and creation of such books is known as paper engineering, a term not to be confused with the term for the science of paper making. It is akin to origami in so far as the two arts both employ folded paper. However, origami tends to be focused on creating objects, whereas pop-ups tend to remain essentially pictorial and mechanical in nature. Some examples follow. Transformations Transformations show a scene made up of vertical slats. By pulling a tab on the side, the slats slide under and over one another to \"transform\" into a totally different scene. Ernest Nister, one of the early English children\'s book authors, often produced books solely of transformations. Many of these have been reproduced by the Metropolitan Museum of Art.Volvelles Volvelles are paper constructions with rotating parts. An early example is the Astronomicum Caesareum, by Petrus Apianus, which was made for the Holy Roman Emperor Charles in 1540. The book is full of nested circular pieces revolving on grommets. Tunnel books Tunnel books (also called peepshow books) consist of a set of pages bound with two folded concertina strips on each side and viewed through a hole in the cover. Openings in each page allow the viewer to see through the entire book to the back, and images on each page work together to create a dimensional scene inside. This type of book dates from the mid-eighteenth century and was inspired by theatrical stage sets. Traditionally, these books were often created to commemorate special events or sold as souvenirs of tourist attractions. (The term \"tunnel book\" derives from the fact that many of these books were made to commemorate the building of the tunnel under the Thames River in London in the mid-1800s.) In the United States, tunnel books were made for such attractions as World Fairs and the New York Botanical Gardens. Recently the tunnel book format has been resurrected by book artist Carol Barton and others as a sculptural book form. Artists are interested not only in the book\'s interior views, but also in treating the side accordions and covers as informational and visual surfaces. History The audience for early movable books were adults, not children. It is believed that the first use of movable mechanics appeared in a manuscript for an astrological book in 1306. The Catalan mystic and poet Ramon Llull, of Majorca, used a revolving disc or volvelle to illustrate his theories. Throughout the centuries volvelles have been used for such diverse purposes as teaching anatomy, making astronomical predictions, creating secret code, and telling fortunes. By 1564 another movable astrological book titled Cosmographia Petri Apiani had been published. In the following years, the medical profession made use of this format, illustrating anatomical books with layers and flaps showing the human body. The English landscape designer Capability Brown made use of flaps to illustrate \"before and after\" views of his designs. While it can be documented that books with movable parts had been used for centuries, they were almost always used in scholarly works. It was not until the eighteenth century that these techniques were applied to books designed for entertainment, particularly for children. Notable works Some pop-up books receive attention as literary works for the degree of artistry or sophistication which they entail. One example is STAR WARS: A Pop-Up Guide to the Galaxy, by Matthew Reinhart. This book received literary attention for its elaborate pop-ups, and the skill of its imagery, with the New York Times saying that \"calling this sophisticated piece of engineering a \'pop-up book\' is like calling the Great Wall of China a partition\". References Further reading The Pocket Paper Engineer, Volume 1 by Carol Barton, 2005 The Pocket Paper Engineer, Volume 2 by Carol Barton, 2008 The Elements of Pop-Up by David A. Carter and James Diaz, 1999. Paper Engineering: 3D Design Techniques for a 2D Material by Natalie Avella. Rotovision, 2003. ********* A Concise History of Pop-up and Movable Books by Ann Montanaro \"Mechanical books should look like ordinary books. Their success is to be measured by the ingenuity with which their bookish format conceals unbookish characteristics.\" Because books are by design two-dimensional, it might seem impossible for a page to add motion or depth other than through illustrations with perspective and illusion. And yet, for more than 700 years, artists, philosophers, scientists, and book designers have tried to challenge the book\'s bibliographic boundaries. They have added flaps, revolving parts, and other movable pieces to enhance the text. It is not known who invented the first mechanical device in a book, but one of the earliest examples was produced in the 13th century by Catalan mystic and poet Ramon Llull of Majorca who used a revolving disc or volvelle to illustrate his theories. Throughout the centuries volvelles have been used for such diverse purposes as teaching anatomy, making astronomical predictions, creating secret code, and telling fortunes. Yet, while it can be documented that movable parts had been used for centuries, they were almost always used in scholarly works. It was not until the 18th century that these techniques were applied to books designed for entertainment, particularly for children. F. J. Harvey Darton, English authority on childrens\' books, wrote that before 1770 there were virtually no books \"produced ostensibly to give children spontaneous pleasure, and not primarily to teach them, not solely to make them good, nor to keep them profitably quiet.\" London book publisher Robert Sayer changed that with the production of \"metamorphoses\" books. These books, which were also called \"turn-up\" books or \"harlequinades,\" afforded amusement, not so much through their printed contents, but through their illustrations that changed and kept pace with the story. \"Metamorphoses\" books were composed of single, printed sheets folded perpendicularly into four. Hinged at the top and bottom of each fold, the picture was cut through horizontally across the center to make two flaps that could be opened up or down. When raised, the pages disclosed another hidden picture underneath, each having a few lines of verse. Other early examples of movable books were the Paper Doll Books produced by London publisher S. & J. Fuller beginning in 1810; the \"toilet book,\" and an early example of a lift-the-flap book, first illustrated and published by the artist William Grimaldi in the 1820\'s; and peep-show books. Little or nothing is known of the origin of the peep-shows but they appear to have evolved from the traveling exhibits that showmen featured at fairs and festivals. They were often quite elaborate constructions depicting scenes from famous stories or topical events and were viewed through a small hole in the cover. The first true movable books published in any large quantity were those produced by Dean & Son, a publishing firm founded in London before 1800. By the 1860\'s the company claimed to be the \"originator of childrens\' movable books in which characters can be made to move and act in accordance with the incidents described in each story.\" From the mid-19th century Dean turned its attention to the production of movable books and between the 1860\'s and 1900 they produced about fifty titles. To construct movable books, Dean established a special department of skilled craftsmen who prepared the hand-made mechanicals. The designers used the peep-show principle of cut-out scenes aligned one behind the other to give a three-dimensional effect. Each layer was fixed to the next by a piece of ribbon that emerged behind the uppermost portion, and when this was pulled, the whole scene sprang up into perspective. Dean also introduced movable books with transformational plates based on the jalousie or venetian blind principle. The illustrations in these books had either a square or an oblong picture divided into four or five equal sections by corresponding horizontal or vertical slits. When a tab at the side or bottom of the illustration was pulled, the picture \"transformed\" into another picture. Read and Ward & Lock, Darton were two other London publishers of movable books, but Raphael Tuck was the first publisher to seriously challenge Dean & Son. In 1870 Tuck and his sons founded a publishing business in London that produced luxury paper items including scrapbook pictures, valentines, puzzles, paper dolls, and decorated papers. In the genre of movable books, Tuck published \"Father Tuck\'s \'Mechanical\' Series.\" The series included stand-up items with three-dimensional effects as well as movable books. To produce these books, Tuck, like Dean, formed editorial and design studios in London where volumes of high pictorial quality were produced. All of the printing, however, was done in Germany. The Germans developed a mastery of color printing in the second half of the 19th century and their equipment and techniques superbly reproduced the finest art work. Another 19th century publisher who specialized in movable books was Ernest Nister. His printing business, begun in 1877, was capable of producing works by all of the major processes of the time. However, despite his wide range of publishing endeavors, he is best known for his movable books that were published from 1890. Nister\'s works were similar to those produced by his contemporaries but Nister\'s illustrations stood up automatically. The books had figures that were die-cut and mounted within a three-dimensional peepshow framework. The figures were connected by paper guides so that as the pages were turned, the figures lifted away from the page within the perspective-like setting. Nister also produced movable books with dissolving and revolving transformational slats. The distribution of Nister titles was not limited to European markets, the New York firm of E.P. Dutton worked in conjunction with Ernest Nister to promote and sell the publisher\'s titles in the United States. The most original movable picture books of the 19th century were devised by Lothar Meggendorfer. The Munich artist had a rare comic vision that was transmitted both through his art and through ingenious mechanical devices. In contrast to his contemporaries, Meggendorfer was not satisfied with only one action on each page. He often had five parts of the illustration move simultaneously and in different directions. Meggendorfer devised intricate levers, hidden between pages, that gave his characters enormous possibilities for movement. He used tiny metal rivets, actually tight curls of thin copper wire, to attach the levers, so that a single pull-tab could activate all of them, often with several delayed actions as the tab was pulled further out. Some illustrations used more than a dozen rivets. McLoughlin Brothers of New York produced the first American movable books. Innovators of printing techniques, McLoughlin issued two separate \"Little Showman\'s Series\" in the 1880\'s each containing three-dimensional scenes. These large, colorful plates unfolded into multi-layered displays. Few movable books were produced once the first World War began. The manufacture of movable books was labor-intensive. Presumably, after 1914 the labor force in the German printing works was required for less frivolous tasks. However, in 1929 a new series of movable books was initiated. British book publisher S. Louis Giraud conceived, designed, and produced books with movable illustrations described as \"living models.\" While the term had yet to be used, these were authentic \"pop-up\" books. Each title contained at least five, double-page spreads that erected automatically when the book was opened and had illustrations that could be viewed from all four sides. Unlike his German precursors, Giraud\'s books were moderately priced. They were produced on coarse, absorbent paper, employing crude photolitho printing and color reproduction techniques, and were finished with inexpensive covers and bindings. Between 1929 and 1949 Giraud produced a series of 16 annuals, first for the Daily Express and later as an independent publisher using the trade names \"Strand Publications\" and \"Bookano Stories.\" Each annual included stories, verses, and illustrations as well as five or more pop-ups. Giraud\'s books reached a wide audience and were very popular. As the Depression years deepened, American book publishers sought ways to rekindle book buying. In the 1930\'s Blue Ribbon Publishing of New York hit upon a combination that proved successful. They animated Walt Disney characters and traditional fairy tales with pop-ups. Blue Ribbon was the first publisher to use the term \"pop-up\" to describe their movable illustrations. McLoughlin Brothers reentered the movable book market in 1939 with the publication of their first Jolly Jump-up title. The commercially successful Jolly Jump-up series included ten titles illustrated by Geraldine Clyne. A new group of artists and publishers entered the movable book market in the 1940\'s. The exciting adventures of Finnie the fiddler was the inaugural book of a series of titles featuring the animation of Julian Wehr. Wehr\'s illustrations were printed on lightweight paper and had tab-operated mechanicals. By moving the tab, which extended through the side or lower edge of the illustrated page, the various parts of the animation were put in motion. The action was transmitted to as many as five different parts of the picture. Beginning in the late 1950s a series of remarkably innovative pop-up books was produced by Artia in Prague, Czechoslovakia, a state-run import/export agency. Voitech Kubasta was their preeminent artist and the creator of dozens of pop-up books. Bancroft & Co. (Publishers) of London marketed the Czechoslovakian titles. In the mid-1960s American Waldo Hunt, President of Graphics International, a Los Angeles-based print brokerage company, was creating dimensional pop-up magazine inserts and premiums. Inspired by the Czechoslovakian works, and deterred in an attempt to market them in the U.S., he began to produce his own pop-up books. This decision led to the renaissance of pop-up books as we now know them. Graphics International moved to New York in 1964 and with the publication of Bennett Cerf\'s pop-up riddles in 1965, began producing books for Random House. Hallmark Cards purchased Graphics International at the end of the decade and the staff moved to Kansas City, Missouri. With more than forty successful titles produced for Hallmark, Hunt left in 1974 to return to California where he began a book packaging company, Intervisual Communications, Inc. Today there are a number of packaging companies such as Compass Productions, White Heat, Ltd., Van der Meer Paper Design, Sadie Fields Productions, and Designamation to name a few, and the number of pop-up books has grown tremendously. There are between 200 and 300 new pop-up books produced in English each year. The publication of pop-up books is production involving the skills of a number of individuals. The creation of the book begins with a concept, story line and situation. Once the basics are worked out, the project goes to the \"paper engineer\" who takes the ideas of the author and the illustrator and puts motion into the characters, and action into the scenes. They may even add sound, as in a book where the opening and closing of the pages cause the teeth of a saw to run across a log. The paper engineer\'s task is to be both imaginative and practical. The designer must determine how movable pieces attach to the page so they won\'t break, which points need glue and how much, how long pull tabs should be and how high a piece can pop up. The final step for the paper engineer is to lay out or \"nest\" all the pages and pieces so they fit onto the size sheet that will be run through the printing press. All contemporary pop-up books are assembled by hand most in Colombia, Mexico, or Singapore. After printing, the nesting pieces of a book are die-cut from the sheets and collated with their pages. Production lines are set up, with as many as 60 people involved in the handwork needed to complete one book. These people fold, insert paper tabs into slits, connect paper pivots, glue and tape. Alignment of tip-on pieces with the printed page must be exact and angles must be precise. The most complex books can require over 100 individual handwork procedures. The movable books of the last two decades have become increasingly complex with sophisticated pop-up illustrations and intricate mechanical devices. The addition of lights and music in some titles has contributed to the surprise of the mechanical illustrations. Pop-up and movable books are not ordinary books. For more than 100 years their ingenious mechanical devices have surprised and entertained readers of all ages. ************ Noah\'s Ark (Hebrew: תיבת נח, Tevat Noach) is the vessel built by the biblical Patriarch Noah at God\'s command to save himself, his family, and the world\'s animals, from the Deluge. Genesis 6-9 tells how God sends a great flood to destroy all life, but tells Noah, \"a man righteous in his generation,\" to build a large vessel to save his family and a representation of the world\'s animals. God gives detailed instructions for the Ark, brings the animals to Noah, and seals up the door of the vessel. God then sends the Flood which rises until all the mountains are covered and all life extinguished. Then \"God remembered Noah,\" the waters abate, and dry land reappeares. Noah, his family, and the animals leave the Ark, God and Noah enter into a covenant to respect the sanctity of life. The narrative has been subject to extensive elaborations in Judaism, Christianity and Islam, ranging from hypothetical solutions to practical problems (e.g. waste disposal and the problem of lighting the interior), through to theological interpretations (e.g. the Ark as the precursor of the Church in offering salvation to mankind).[1] Although traditionally accepted as historical, by the 19th century the discoveries of archaeologists and biblical scholars had led most people to abandon a literal interpretation of the Ark story.[2][3][4] Nevertheless, Biblical literalists continue to explore the region of the mountains of Ararat, in Eastern Turkey, where the Bible says the Ark came to rest God observes that the Earth is corrupted with violence and decides to destroy all life. But Noah \"was a righteous man, blameless in his generation, [and] Noah walked with God,\" and God gives him instructions for the construction of an ark, into which he is told to bring \"two of every sort [of animal] ... male and female,\" and their food. God instructs Noah to board the ark with his family, and seven pairs of the birds and the clean animals, and two pairs of the unclean animals, and \"on the same day all the fountains of the great deep were broken up, and the windows of heaven were opened, and the rain was upon the earth,\" and God closes up the door of the ark. The flood begins, and the waters prevail until all the high mountains are covered fifteen cubits deep, and all the people and animals and creeping things and birds of the heavens are blotted out from the earth, and only Noah and those with him in the ark remain.\" Then \"God remembered Noah,\" and causes his wind to blow, and the fountains of the deep and the windows of the heavens are closed, and the rain is restrained, and the waters abate. In the seventh month the Ark rests on the mountains of Ararat, and in the tenth month the tops of the mountains are seen. Then Noah sends out a raven and then a dove to see if the waters have subsided, and the dove returns with a fresh olive leaf in her beak. Noah waits seven days more and sends out the dove again, and this time it does not return. \"In the six hundred and first year, in the first month, the first day of the month, the waters were dried from off the earth, and Noah removed the covering of the ark and looked, and behold, the face of the ground was dry.\" God tells Noah to leave the ark, Noah offers a sacrifice to God, and God resolves never again to destroy the earth, \"for the intention of man’s heart is evil from his youth.\"[8] God grants to Noah and his sons the right to kill animals and eat their meat, but foroffers meat which has not been drained of its blood. Nor is blood to be shed except for this purpose: \"For your lifeblood I will require a reckoning: from every beast I will require it and from man...Whoever sheds the blood of man, by man shall his blood be shed, for God made man in his own image.\" Then God establish his covenant with Noah and his sons and with all living things, and places the rainbow in the clouds, \"the sign of the covenant that I have established between me and all flesh that is on the earth.\"The story of Noah and the Ark was subject to much discussion in later Jewish rabbinic literature. Noah\'s failure to warn others of the coming flood was widely seen as casting doubt on his righteousness—was he perhaps only righteous by the lights of his own evil generation? According to one tradition, he had in fact passed on God\'s warning, planting cedars one hundred and twenty years before the Deluge so that the sinful could see and be urged to amend their ways. In order to protect Noah and his family, God placed lions and other ferocious animals to guard them from the wicked who mocked them and offered them violence. According to one midrash, it was God, or the angels, who gathered the animals to the Ark, together with their food. As there had been no need to distinguish between clean and unclean animals before this time, the clean animals made themselves known by kneeling before Noah as they entered the Ark. A differing opinion said that the Ark itself distinguished clean animals from unclean, admitting seven each of the former and two each of the latter.Noah was engaged both day and night in feeding and caring for the animals, and did not sleep for the entire year aboard the Ark. The animals were the best of their species, and so behaved with utmost goodness. They abstained from procreation, so that the number of creatures that disembarked was exactly equal to the number that embarked. The raven created problems, refusing to go out of the Ark when Noah sent it forth and accusing the Patriarch of wishing to destroy its race, but as the commentators pointed out, God wished to save the raven, for its descendants were destined to feed the prophet Elijah.Refuse was stored on the lowest of the Ark\'s three decks, humans and clean beasts on the second, and the unclean animals and birds on the top. A differing opinion placed the refuse in the utmost storey, from where it was shovelled into the sea through a trapdoor. Precious stones, bright as midday, provided light, and God ensured that food was kept fresh. The giant Og, king of Bashan, was among those saved, but owing to his size had to remain outside, Noah passing him food through a hole cut into the wall of the Ark.[10][11][12]From the 1st century, Christians interpreted the story to fit the new religion. In the First Epistle of Peter those saved by the Ark from the waters of the Flood are said to prefigure the salvation of God\'s Elect through baptism,[13] St. Hippolytus of Rome, (d. 235), seeking to demonstrate that \"the ark was a symbol of the Christ who was expected\", stated that the vessel had its door on the east side - the direction from which Christ would appear at the Second Coming - that the bones of Adam were brought aboard together with gold, frankincense and myrrh - symbols of the Nativity of Christ - and that the Ark floated to and fro in the four directions on the waters, making the sign of the cross, before eventually landing on Mount Kardu \"in the east, in the land of the sons of Raban, and the Orientals call it Mount Godash; the Armenians and Persians call it Ararat\".[14] On a more practical plane, Hippolytus explained that the ark was built in three stories, the lowest for wild beasts, the middle for birds and domestic animals, and the top level for humans, and that the male animals were separated from the females by sharp stakes so that there would be no cohabitation aboard the vessel.From the same period the early Church Father Origen (c. 182–251), responding to a critic who doubted that the Ark could contain all the animals in the world, countered with a learned argument about cubits, holding that Moses, the traditional author of the book of Genesis, had been brought up in Egypt and would therefore have used the larger Egyptian cubit. He also fixed the shape of the Ark as a truncated pyramid, square at its base, and tapering to a square peak one cubit on a side; it was not until the 12th century that it came to be thought of as a rectangular box with a sloping roof.Early Christian artists depicted Noah standing in a small box on the waves, symbolising God saving the Church as it persevered through turmoil, and St. Augustine of Hippo (354–430), in City of God, demonstrated that the dimensions of the Ark corresponded to the dimensions of the human body, which is the body of Christ, which is the Church.[1] St. Jerome (c. 347–420) called the raven, which was sent forth and did not return, the \"foul bird of wickedness\" expelled by baptism;[17] more enduringly, the dove and olive branch came to symbolize the Holy Spirit and the hope of salvation and, eventually, peace.In Islamic traditionNoah (Nuh) is one of the five principal prophets of Islam. References are scattered through the Qur\'an, with the fullest account in surah Hud (11:27–51). As a prophet, Noah preached to his people, but with little success; only \"a few\"[11:40] of them converted (traditionally thought to be seventy). Noah prayed for deliverance, and God told him to build a ship in preparation for the flood. In answer to Noah\'s prayer that this evil generation should be destroyed seventy idolators were converted and entered the Ark with him, bringing the total aboard to 78 humans (these seventy plus the eight members of Noah\'s own family). The seventy had no offspring, and all of post-flood humanity is descended from Noah\'s three sons. The flood destroys all of Noah\'s people; his son Canaan was among those drowned, despite Noah pleading with God to save him.In contrast to the Jewish tradition, which uses a term which can be translated as a \"box\" or \"chest\" to describe the Ark, surah 29:14 refers to it as a safina, an ordinary ship, and surah 54:13 as \"a thing of boards and nails\". `Abd Allah ibn `Abbas, a contemporary of Muhammad, wrote that Noah was in doubt as to what shape to make the Ark, and that Allah revealed to him that it was to be shaped like a bird\'s belly and fashioned of teak wood. Noah then planted a tree, which in 20 years had grown enough to provide him all the wood he needed.[18]Abdallah ibn \'Umar al-Baidawi, writing in the 13th century, gives the length of the Ark as 300cubits (157 m, 515 ft) by 50 (26.2 m, 86 ft) in width, 30 (15.7 m, 52 ft) in height, and explains that in the first of the three levels wild and domesticated animals were lodged, in the second the human beings, and in the third the birds. On every plank was the name of a prophet. Three missing planks, symbolising three prophets, were brought from Egypt by Og, son of Anak, the only one of the giants permitted to survive the Flood. The body of Adam was carried in the middle to divide the men from the women. Sura 11:41 says: \"And he said, \'Ride ye in it; in the Name of God it moves and stays!\'\" takes this to mean that Noah said, \"In the Name of God!\" when he wished the Ark to move, and the same when he wished it to stand still.Noah spent five or six months aboard the Ark, at the end of which he sent out a raven. But the raven stopped to feast on carrion, and so Noah cursed it and sent out the dove, which has been known ever since as the friend of mankind. The medieval scholar Abu al-Hasan Ali ibn al-Husayn Masudi (died 956) writes that God commanded the earth to absorb the water, and certain portions which were slow in obeying received salt water in punishment and so became dry and arid. The water which was not absorbed formed the seas, so that the waters of the flood still exist. Masudi says that the Ark began its voyage at Kufa in central Iraq and sailed to Mekka, circling the Kaaba before finally traveling to Mount Judi, which surah 11:44 states was its final resting place. This mountain is identified by tradition with a hill near the town of Jazirat ibn Umar on the east bank of the Tigris in the province of Mosul in northern Iraq, and Masudi says that the spot where it came to rest could be seen in his time.Noah left the Ark on the tenth day of Muharram, and he and his family and companions built a town at the foot of Mount Judi named Thamanin (\"eighty\"), from their number. Noah then locked the Ark and entrusted the keys to Shem. Yaqut al-Hamawi (1179–1229) mentions a mosque built by Noah which could be seen in his day, and Ibn Batutta passed the mountain on his travels in the 14th century. Modern Muslims, although not generally active in searching for the Ark, believe that it still exists on the high slopes of the mountain.[10][11]In other traditionsThe Mandaeans of the southern Iraqi marshes practice a religion that was possibly influenced in part by early followers of John the Baptist. They regard Noah as a prophet, while rejecting Abraham (and Jesus) as false prophets. In the version given in their scriptures, the ark was built of sandalwood from Jebel Harun and was cubic in shape, with a length, width and height of 30 gama (the length of an arm); its final resting place is said to be Egypt.The religion of the Yazidi of the Sinjar mountains of northern Iraq blends indigenous and Islamic beliefs. According to their Mishefa Reş, the Deluge occurred not once, but twice. The original Deluge is said to have been survived by a certain Na\'umi, father of Ham, whose ark landed at a place called Ain Sifni, in the region of Mosul. Some time after this came the second flood, upon the Yezidis only, which was survived by Noah, whose ship was pierced by a rock as it floated above Mount Sinjar, then went on to land on Mount Judi as described in Islamic tradition.The Bahá\'í Faith regards the Ark and the Flood as symbolic.[19] In Bahá\'í belief, only Noah\'s followers were spiritually alive, preserved in the ark of his teachings, as others were spiritually dead.[20][21] The Bahá\'í scripture Kitáb-i-Íqán endorses the Islamic belief that Noah had a large number of companions, either 40 or 72, besides his family on the Ark, and that he taught for 950 (symbolic) years before the flood.Historicity: The Ark and scienceVarious editions of the Encyclopedia Britannica reflect the collapse of belief in the historicity of the Ark in the face of advancing scientific knowledge. Its 1771 edition offered the following as scientific evidence for the ark\'s size and capacity: \"...Buteo and Kircher have proved geometrically, that, taking the common cubit as a foot and a half, the ark was abundantly sufficient for all the animals supposed to be lodged in it..., the number of species of animals will be found much less than is generally imagined, not amounting to an hundred species of quadrupeds... .\" By the eighth edition (1853-1860) the encyclopedia says of the Noah story, \"The insuperable difficulties connected with the belief that all other existing species of animals were provided for in the ark are obviated by adopting the suggestion of Bishop Stillingfleet, approved by Matthew Poole...and others, that the Deluge did not extend beyond the region of the earth then inhabited...\" By the ninth edition, in 1875, there is no attempt to reconcile the Noah story with scientific fact, and it is presented without comment. In the 1960 edition, in the article Ark, we find the following, \"Before the days of \"higher criticism\" and the rise of the modern scientific views as to the origin of the species, there was much discussion among the learned, and many ingenious and curious theories were advanced, as to the number of animals on the ark...\"16th-18th centuriesThe Renaissance saw a continued speculation that might have seemed familiar to Origen and Augustine. Yet at the same time, a new class of scholarship arose, one which, while never questioning the literal truth of the Ark story, began to speculate on the practical workings of Noah\'s vessel from within a purely naturalistic framework. Thus in the 15th century, Alfonso Tostada gave a detailed account of the logistics of the Ark, down to arrangements for the disposal of dung and the circulation of fresh air, and the noted 16th-century geometrician Johannes Buteo calculated the ship\'s internal dimensions, allowing room for Noah\'s grinding mills and smokeless ovens, a model widely adopted by other commentators.[16]By the 17th century, it was becoming necessary to reconcile the exploration of the New World and increased awareness of the global distribution of species with the older belief that all life had sprung from a single point of origin on the slopes of Mount Ararat. The obvious answer was that man had spread over the continents following the destruction of the Tower of Babel and taken animals with him, yet some of the results seemed peculiar: why had the natives of North America taken rattlesnakes, but not horses, wondered Sir Thomas Browne in 1646? \"How America abounded with Beasts of prey and noxious Animals, yet contained not in that necessary Creature, a Horse, is very strange\".[16]Browne, who was among the first to question the notion of spontaneous generation, was a medical doctor and amateur scientist making this observation in passing. Biblical scholars of the time such as Justus Lipsius (1547–1606) and Athanasius Kircher (c.1601–80) were also beginning to subject the Ark story to rigorous scrutiny as they attempted to harmonise the biblical account with natural historical knowledge. The resulting hypotheses were an important impetus to the study of the geographical distribution of plants and animals, and indirectly spurred the emergence of biogeography in the 18th century. Natural historians began to draw connections between climates and the animals and plants adapted to them. One influential theory held that the biblical Ararat was striped with varying climatic zones, and as climate changed, the associated animals moved as well, eventually spreading to repopulate the globe. There was also the problem of an ever-expanding number of known species: for Kircher and earlier natural historians, there was little problem finding room for all known animal species in the Ark, but by the time John Ray (1627–1705) was working, just several decades after Kircher, their number had expanded beyond biblical proportions. Incorporating the full range of animal diversity into the Ark story was becoming increasingly difficult,[3] and by the middle of the 18th century few natural historians could justify a literal interpretation of the Noah\'s Ark narrative.[4] An uneasy rapprochement was reached by thinkers such as Edward Stillingfleet, a late 17th century English theologian and scholar who suggested that mankind at the time of Noah had inhabited only a small portion of the world, so that a purely local Flood would square the bible with science; the idea gained popularity in intellectual circles in the 18th century, but was increasingly abandoned as the century wore on and the scientific evidence mounted. In 1823 William Buckland interpreted geological phenomena as Reliquiae Diluvianae; relics of the flood Attesting the Action of an Universal Deluge. His views were supported by other English clergymen naturalists at the time including the influential Adam Sedgwick, but by 1830 Sedgwick considered that the evidence only showed local floods. The deposits were subsequently explained by Louis Agassiz as the results of glaciation.[24] In 1862 William Thompson, later Lord Kelvin, calculated the age of the earth at between 24 and 400 million years, and for the remainder of the 19th century, discussion was not about whether Kelvin was right or wrong, but about just how many millions were involved.[25] The field of Geology had a profound impact on attitudes towards the Biblical Flood and Ark story: without the support of the Biblical chronology, which placed the Creation and the Flood in a history which stretched back no more than a few thousand years, the historicity of the Ark itself was undermined. The influential 1889 volume of theological essays Lux Mundi, which is usually held to mark a stage in the acceptance of a more critical approach to scripture, took the stance that the gospels could be relied on as completely historical, but the earlier chapters of Genesis should not be taken literally.See also: Documentary hypothesisIn the 19th century Biblical scholars were beginning to examine the origins of the Bible itself. The Noah\'s Ark story played a central role in the new theories, largely because, using the newly developed tools of source criticism, scholars discovered in the Ark narrative two complete, coherent, parallel stories. It is stated twice over, for example, that God was angered with his creation, but the reasons given in each telling are slightly different; we are told that there was a single pair of each animal aboard, but also that there were seven pairs of the clean animals; that the source of the water was rain, but also that it came from the \"windows of Heaven\" and the \"fountains of the Deep\"; that the rains lasted forty days, but that the waters rose for 150. This, they decided, was how the entire Pentateuch (the first five books of the Bible) had been written: the work of many authors over many centuries, combining separate sources into a single whole.[)The 19th century also saw the growth of Middle Eastern archaeology and the first translations into English of ancient Mesopotamian records. The Assyriologist George Smith achieved world-wide fame with his translation of the Babylonian account of the Great Flood, which he read before the Society of Biblical Archaeology on December 3, 1872; the audience included the Prime Minister William Ewart Gladstone, the only known instance of a serving British Premier ever attending a lecture on Babylonian literature. Further exploration and discoveries brought to light several versions of the Mesopotamian flood-myth, with the closest to Genesis 6-9 in a 7th century BC Babylonian copy of the Epic of Gilgamesh: the hero Gilgamesh meets the immortal man Utnapishtim, who tells how the god Ea warned him to build a vessel in which to save his family, his friends, and his wealth and cattle from a great flood by which the gods intended to destroy the world.Modern Biblical literalism Biblical literalists continue to believe in a literal Ark, advancing arguments not so different from those in the earliest editions of the Encyclopedia Britannica.[28] They feel that finding the Ark would validate their views on a whole range of matters, from Geology to evolution. \"If the flood of Noah indeed wiped out the entire human race and its civilization, as the Bible teaches, then the Ark constitutes the one remaining major link to the pre-flood World. No significant artifact could ever be of greater antiquity or importance... [with] tremendous potential impact on the creation-evolution (including theistic evolution) controversy.\"[29] Searches for Noah\'s Ark continue on and around Mount Ararat in Turkey.
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