Lunar Mare - Composition

Composition

Using terrestrial classification schemes, all mare basalts are classified as tholeiitic, but specific subclassifications have been invented to further describe the population of lunar basalts. Mare basalts are generally grouped into three series based on their major element chemistry: high-Ti basalts, low-Ti basalts, and very Low-Ti (VLT) basalts. While these groups were once thought to be distinct based on the Apollo samples, global remote sensing data from the Clementine mission now shows that there is a continuum of titanium concentrations between these end members, and that the high-titanium concentrations are the least abundant. TiO2 abundances can reach up to 15 wt.% for mare basalts, whereas most terrestrial basalts have abundances much less than 4 wt.%. A special group of lunar basalts is the KREEP basalts, which are abnormally rich in potassium (K), rare earth elements (REE), and phosphorus (P). A major difference between terrestrial and lunar basalts is the near-total absence of water in any form in the lunar basalts. Lunar basalts do not contain hydrogen-bearing minerals like the amphiboles and phyllosilicates that are common in terrestrial basalts.

Read more about this topic:  Lunar Mare

Famous quotes containing the word composition:

    When I think of God, when I think of him as existent, and when I believe him to be existent, my idea of him neither increases nor diminishes. But as it is certain there is a great difference betwixt the simple conception of the existence of an object, and the belief of it, and as this difference lies not in the parts or composition of the idea which we conceive; it follows, that it must lie in the manner in which we conceive it.
    David Hume (1711–1776)

    Since body and soul are radically different from one another and belong to different worlds, the destruction of the body cannot mean the destruction of the soul, any more than a musical composition can be destroyed when the instrument is destroyed.
    —Oscar Cullman. Immortality of the Soul or Resurrection of the Dead? The Witness of the New Testament, ch. 1, Epworth Press (1958)

    Pushkin’s composition is first of all and above all a phenomenon of style, and it is from this flowered rim that I have surveyed its seep of Arcadian country, the serpentine gleam of its imported brooks, the miniature blizzards imprisoned in round crystal, and the many-hued levels of literary parody blending in the melting distance.
    Vladimir Nabokov (1899–1977)