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Niggers</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=August_Strindberg&diff=1019945206August Strindberg2021-04-26T08:53:15Z<p>5.35.187.134: </p>
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<div>{{short description|Swedish writer and painter (1849-1912)}}<br />
{{redirect|Strindberg}}<br />
{{redirect-distinguish|Black Banners|Black Banner (disambiguation){{!}}Black Banner}}<br />
{{Use dmy dates|date=March 2021}}<br />
{{Infobox writer <!-- for more information see [[:Template:Infobox writer/doc]] --><br />
| image = AugustStrindberg.jpg<br />
| caption = Mustafa Deeq Abdi<br />
| birth_name = Mustafa Deeq Abdi<br />
| birth_date = {{Birth date|2007|06|13|df=yes}}<br />
| birth_place = [[Stockholm]], Sweden<br />
| death_date = {{death date and age|1912|05|14|1849|01|22|df=yes}}<br />
| death_place = Stockholm, Sweden<br />
| resting_place = [[Norra begravningsplatsen]]<br />
| occupation = {{Flatlist}}<br />
* Playwright<br />
* Novelist<br />
* Essayist<br />
* Poet<br />
* Painter<br />
{{Endflatlist}}<br />
| nationality = [[Swedes|Swedish]]<br />
| period = [[Modernism]]<br />
| movement = {{Plainlist}}<br />
* [[Naturalism (theatre)|Naturalism]]<br />
* [[Expressionism (theatre)|Expressionism]]<br />
{{Endplainlist}}<br />
| notableworks = {{Plainlist}}<br />
* ''[[The Red Room (Strindberg novel)|The Red Room]]'' (1879)<br />
* ''[[The Father (Strindberg play)|The Father]]'' (1887)<br />
* ''[[Miss Julie]]'' (1888)<br />
* ''[[Creditors (play)|Creditors]]'' (1889)<br />
* ''[[Inferno (Strindberg novel)|Inferno]]'' (1897)<br />
* ''[[To Damascus]]'' (1898)<br />
* ''[[The Dance of Death (Strindberg play)|The Dance of Death]]'' (1900)<br />
* ''[[A Dream Play]]'' (1902)<br />
* ''[[The Ghost Sonata]]'' (1908)<br />
{{Endplainlist}}<br />
| spouse = {{Plainlist}}<br />
* [[Siri von Essen]] (1877–1891)<br />
* [[Frida Uhl]] (1893–1895)<br />
* [[Harriet Bosse]] (1901–1904)<br />
{{Endplainlist}}<br />
| signature = Strindberg namnteckning 1898.svg<br />
}}<br />
'''Johan August Strindberg''' ({{IPAc-en|ˈ|s|t|r|ɪ|n|(|d|)|b|ɜːr|ɡ}},<ref>[http://dictionary.reference.com/browse/strindberg "Strindberg"]. ''[[Random House Webster's Unabridged Dictionary]]''.</ref> {{IPA-sv|ˈǒːɡɵst ˈstrɪ̂nːdbærj|lang|sv-August Strindberg.ogg}}; 22 January 1849{{spaced ndash}}14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter.<ref name="Lane 1998, 1040">Lane (1998), 1040.</ref><ref>Meyer (1985), 3, 567.</ref><ref>Williams (1952), 75.</ref> A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics.<ref>Williams (1952, 75).</ref> A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic [[tragedy]], [[monodrama]], and history plays, to his anticipations of [[expressionism (theatre)|expressionist]] and [[surrealism|surrealist]] dramatic techniques.<ref>Lane (1998), 1040–41.</ref><ref>Williams (1952), 75–6, 100.</ref> From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition.<ref>{{Cite book|title=August Strindberg and visual culture : the emergence of optical modernity in image, text, and theatre|publisher=Bloomsbury|others=Schroeder, Jonathan E., Stenport, Anna Westerståhl,, Szalczer, Eszter, editors|year=2018|isbn=9781501338007|location=New York|oclc=1043147459}}</ref> He is considered the "father" of modern [[Swedish literature]] and his ''[[The Red Room (Strindberg novel)|The Red Room]]'' (1879) has frequently been described as the first modern Swedish novel.<ref>Adams (2002).</ref><ref>Meˈyer (1985), 79.</ref><br />
<br />
In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright.<br />
<br />
The [[Royal Dramatic Theatre|Royal Theatre]] rejected his first major play, ''[[Master Olof]]'', in 1872; it was not until 1881, when he was thirty-two, that its première at the [[Swedish Theatre (Stockholm)|New Theatre]] gave him his theatrical breakthrough.<ref name="Lane 1998, 1040"/><ref>Meyer (1985), 49, 95.</ref> In his plays ''[[The Father (Strindberg play)|The Father]]'' (1887), ''[[Miss Julie]]'' (1888), and ''[[Creditors (play)|Creditors]]'' (1889), he created naturalistic dramas that – building on the established accomplishments of [[Henrik Ibsen]]'s prose [[problem play]]s while rejecting their use of the structure of the [[well-made play]] – responded to the call-to-arms of [[Émile Zola]]'s manifesto "Naturalism in the Theatre" (1881) and the example set by [[André Antoine]]'s newly established {{lang|fr|[[Théâtre Libre]]}} (opened 1887).<ref>Carlson (1993, 280), Innes (2000, 22), Lane (1998, 1040), and Williams (1952, 77–80).</ref> In ''Miss Julie'', characterisation replaces plot as the predominant dramatic element (in contrast to [[melodrama]] and the well-made play) and the determining role of [[heredity]] and the [[Social environment|environment]] on the "vacillating, disintegrated" characters is emphasized.<ref>Quoting from Strindberg's Preface to ''Miss Julie''; see Carlson (1993, 281), Innes (2000, 12–13), and Lane (1998, 1040).</ref> Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in [[Copenhagen]] on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to ''Miss Julie'', the last of which is probably the best-known statement of the principles of the theatrical movement.<ref>Carlson (1993, 280) and Lane (1998, 1040).</ref><br />
<br />
During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult.<ref name="cgt0">Lane (1998, 1040).</ref> A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "''Inferno'' crisis") led to his hospitalization and return to Sweden.<ref name=cgt0/> Under the influence of the ideas of [[Emanuel Swedenborg]], he resolved after his recovery to become "the Zola of the Occult".<ref>Lane (1998, 1040) and Meyer (1985, 350); on 23 August 1896 he wrote in a letter to Torsten Hedlund: "You said recently that people are looking for the Zola of occultism. That I feel is my vocation."</ref> In 1898 he returned to play-writing with ''[[To Damascus]]'', which, like ''[[The Great Highway]]'' (1909), is a dream-play of spiritual pilgrimage.<ref>Lane (1998, 1041), Meyer (1985, 374), and Williams (1952, 86–93).</ref> His ''[[A Dream Play]]'' (1902) – with its radical attempt to dramatize the workings of the [[unconscious mind|unconscious]] by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism.<ref>Carlson (1993, 346–347) and Lane (1998, 1041).</ref> He also returned to writing historical drama, the genre with which he had begun his play-writing career.<ref>Lane (1998, 1041).</ref> He helped to run the [[Strindbergs Intima Teater|Intimate Theatre]] from 1907, a small-scale theatre, modeled on [[Max Reinhardt]]'s {{lang|de|Kammerspielhaus}}, that staged his [[chamber play]]s (such as ''[[The Ghost Sonata]]'').<ref>Lane (1998, 1041) and Williams (1952, 96–99).</ref><br />
<br />
==Biography==<br />
<br />
===Youth===<br />
[[File:Klara skola.jpg|thumb|right|200px|The school in [[Klara (Stockholm)|Klara, Stockholm]], whose harsh discipline haunted Strindberg in his adult life]]<br />
<br />
Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg ([[Shipping agency|a shipping agent]]) and Eleonora Ulrika Norling (a serving-maid).<ref>Meyer (1985, 3–4). In his autobiographical novel, ''[[The Son of a Servant]]'' (1886), Strindberg described his father as "an aristocrat by birth and upbringing"; quoted by Meyer (1985, 8). When Johan August was four his father was declared bankrupt; see Meyer (1985, 7). He had two elder brothers, Carl Axel and Oscar, who were born before their parents were married. After Johan August came another brother, Olle, and three sisters, Anna, Elisabeth, and Nora; see Meyer (1988, 3, 7).</ref> In his autobiographical novel ''[[The Son of a Servant]]'', Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect".<ref>Merriam-Webster (1995, 1074–5). One of his biographers, [[Olof Lagercrantz]], warns against the use of ''[[The Son of a Servant]]'' as a biographical source. Lagercrantz notes Strindberg's "talent to make us believe what he wants us to believe" and his unwillingness to accept any characterization of his person other than his own (1984).</ref> When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city.<ref>Meyer (1985, 9–10). Norrtullsgatan is not far from [[Tegnérlunden]], the park where [[Carl Eldh]]'s grand statue of Strindberg was later placed.</ref> A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan.<ref>{{cite web |url=http://www.strindbergsmuseet.se/stockholm3.html |title=Norrmalm |last=Höök |first=Erik |access-date=16 February 2017 |website=[[Strindberg Museum]] |language=sv |quote=Strindberg bodde större delen av sin uppväxt i olika malmgårdar nära Norrtull. Längs bodde man på Norrtullsgatan 14, där [[Norrtulls sjukhus]] nu ligger. |archive-url=https://web.archive.org/web/20170501171521/http://www.strindbergsmuseet.se/stockholm3.html |archive-date=1 May 2017 |url-status=dead }}</ref><ref>Meyer (1985, 11).</ref> He attended a harsh school in Klara for four years, an experience that haunted him in his adult life.<ref>Meyer (1985, 10).</ref> He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year.<ref>Meyer (1985, 11–13).</ref> In the autumn of 1861, he was moved to the [[Stockholms Lyceum|Stockholm Lyceum]], a progressive private school for middle-class boys, where he remained for six years.<ref name="Meyer 1985, 13">Meyer (1985, 13).</ref> As a child he had a keen interest in natural science, photography, and religion (following his mother's [[Pietism]]).<ref>Meyer (1985, 12–13).</ref> His mother, Strindberg recalled later with bitterness, always resented her son's intelligence.<ref name="Meyer 1985, 13"/> She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure.<ref name="Meyer 1985, 15">Meyer (1985, 13–15).</ref> Less than a year after her death, his father married the children's [[governess]], Emilia Charlotta Pettersson.<ref>Meyer (1985, 15). Together they had a son, Emil, who was born in the year after their marriage.</ref> According to his sisters, Strindberg came to regard them as his worst enemies.<ref name="Meyer 1985, 15"/> He passed his [[Studentexamen|graduation exam]] in May 1867 and enrolled at the [[Uppsala University]], where he began on 13 September.<ref>Meyer (1985, 18–19).</ref><br />
<br />
Strindberg spent the next few years in [[Uppsala]] and Stockholm, alternately studying for exams and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of [[Lund]] in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm.<ref name=Adams_2002>Adams (2002)<!-- missing page numbers for citations -->.</ref> He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the [[Royal Institute of Technology|Institute of Technology]] in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the [[Royal Dramatic Theatre|Royal Theatre]] in Stockholm. In May 1869, he failed his qualifying chemistry exam which in turn made him uninterested in schooling.<br />
<br />
===1870s===<br />
Strindberg returned to [[Uppsala University]] in January 1870 to study aesthetics and modern languages and to work on a number of plays.<ref>Meyer (1985), 30.</ref> It was at this time that he first learnt about the ideas of [[Charles Darwin]].<ref>Meyer (1985), 30–2.</ref> He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from [[Runic alphabet|runes]] of the ancient [[Teutons|Teutonic]] alphabet – Strindberg called himself [[Freyr|Frö]] (Seed), after the god of fertility.<ref>Meyer (1985, 31). The membership was restricted to a maximum of nine.</ref> After abandoning a draft of a play about [[Eric XIV of Sweden]] halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called ''In Rome'' about [[Bertel Thorvaldsen]], which he had begun the previous autumn.<ref>Meyer (1985), 31–2.</ref> The play was accepted by the [[Royal Dramatic Theatre|Royal Theatre]], where it premièred on 13 September 1870.<ref>Meyer (1985), 32.</ref><ref name = "Robinson 2009 xvii">Robinson (2009), xvii.</ref> As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable.<ref>Meyer (1985, 32–4).</ref> That year he also first read works of [[Søren Kierkegaard]] and [[Georg Brandes]], both of whom influenced him.<ref name = "Robinson 2009 xvii" /><ref>Meyer (1985), 34–5.</ref><br />
<br />
[[File:AStrindberg1874.jpeg|thumb|left|200px|Portrait of Strindberg in 1874, age 25]]<br />
Taking his cue from [[William Shakespeare]], he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse.{{Citation needed|date=May 2010}} During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, ''Sven the Sacrificer'', as a one-act play in prose called ''[[The Outlaw (play)|The Outlaw]]''.<ref name = "Robinson 2009 xvii" /><ref>Meyer (1985), 37.</ref> Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on [[Adam Gottlob Oehlenschläger]]'s [[Romanticism|Romantic]] [[tragedy]] ''Earl Haakon'' (1802).<ref>Meyer (1985), 38–9.</ref> Following further revision in the summer, ''The Outlaw'' opened at the Royal Theatre on 16 October 1871.<ref name = "Robinson 2009 xvii" /><ref>Meyer (1985), 37, 40–1.</ref><ref>''The Outlaw'' was first published in December 1876; see Meyer (1985), 71.</ref> Despite hostile reviews, the play earned him an audience with [[Charles XV of Sweden|King Charles XV]], who supported his studies with a payment of 200 [[Swedish riksdaler|riksdaler]].<ref>Meyer (1985, 41–3). After asking when he could expect the next payment in the spring of 1872, he was informed that it was not a regular arrangement, but was sent one further payment.</ref> Towards the end of the year Strindberg completed a first draft of his first major work, a play about [[Olaus Petri]] called ''[[Master Olof]]''.<ref name = "Robinson 2009 xvii" /><ref>Meyer (1985), 43.</ref> In September 1872, the [[Royal Dramatic Theatre|Royal Theatre]] rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions.<ref>Merriam-Webster (1995), 1074–5.</ref><ref>Meyer (1985, 49).</ref> Returning to the university for what would be his final term in the spring, he left on 2&nbsp;March 1872, without graduating.<ref>Meyer (1985, 43–4).</ref> In ''Town and Gown'' (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors.<ref>Lagercrantz (1984), 73.</ref><ref>Meyer (1985), 70.</ref><ref>Robinson (2009, xviii). Meyer gives the collection's date of publication as December 1876, while Lagercrantz and Robinson give it as December 1877.</ref><br />
<br />
Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm.<ref>Meyer (1985, 44).</ref> He was particularly excited at this time by [[Henry Thomas Buckle]]'s ''History of Civilization'' and the first volume of Georg Brandes' ''Main Currents of Nineteenth-Century Literature''.<ref>Meyer (1985, 46–7).</ref> From December 1874, Strindberg worked for eight years as an assistant librarian at the [[National Library of Sweden|Royal Library]].<ref name="Lagercrantz 1984, 49">Lagercrantz (1984), 49.</ref><ref>Meyer (1985), 53. He was accepted for the position despite not possessing the requisite university degree; it is possible that two articles that had been published in ''The Swedish Citizen'' in March 1874, in which he praised the library and its chief librarian, may have prompted his acceptance. After taking several periods of unpaid leave in 1881–82, he finally resigned from the library on 31 August 1882.</ref><ref>Meyer (1985), 92.</ref> That same month, Strindberg offered ''[[Master Olof]]'' to [[Edvard Stjernström]] (the director of the newly built [[Swedish Theatre (Stockholm)|New Theatre]] in Stockholm), but it was rejected.<ref name="Lagercrantz 1984, 49"/> He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in [[Berns Salonger|Bern's Restaurant]].<ref name = "Robinson 2009 xvii" /><ref>Meyer (1985), 55–6.</ref><br />
<br />
Early in the summer of 1875, he met [[Siri von Essen]], a 24-year-old aspiring actress who, by virtue of her husband, was a [[baron]]ess – he became infatuated with her.<ref>Lagercrantz (1984), 54–58.</ref><ref>Meyer (1985), 57–60. "All his life, Strindberg, while affecting to despise aristocrats, was unwillingly attracted by them." Strindberg in different works gives both late May and June as the date of their first meeting. Siri had performed as an amateur, but her husband did not want her to become a professional.</ref> Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent."<ref>Lagercrantz (1984), 57.</ref> As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883).<ref>Lagercrantz (1984, 60–61) and Meyer (1985, 63, 109).</ref> From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced.<ref>Lagercrantz (1984), 61–3.</ref><ref>Meyer (1985, 63).</ref> Following a successful audition that December, Siri became an actress at the [[Royal Dramatic Theatre|Royal Theatre]].<ref>Lagercrantz (1984), 71.</ref><ref>Meyer (1985), 70–2.</ref> They married a year later, on 30 December 1877;<ref>Lagercrantz (1984), 69–70.</ref><ref>Meyer (1985, 75).</ref> Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later.<ref>Lagercrantz (1984), 75–7.</ref><ref>Meyer (1985, 76).</ref> On 9 January 1879, Strindberg was declared bankrupt.<ref>Lagercrantz (1984), 79.</ref><ref>Meyer (1985, 77).</ref> In November 1879, his novel ''[[The Red Room (Strindberg)|The Red Room]]'' was published.<ref name="Meyer 1985, 79">Meyer (1985, 79).</ref> A satire of Stockholm society, it has frequently been described as the first modern Swedish novel.<ref name = "Meyer 1985, 79"/> While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius.<ref>Meyer (1985, 79–80).</ref> As a result of ''The Red Room'', he had become famous throughout Scandinavia.<ref>Meyer (1985), 81.</ref><ref>Robinson (2009, xix).</ref> [[Edvard Brandes]] wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction."<ref>Quoted by Meyer (1985, 84).</ref> In his response to Brandes, Strindberg explained that:<br />
<br />
{{quote |I am a socialist, a nihilist, a republican, anything that is anti-reactionary!... I want to turn everything upside down to see what lies beneath; I believe we are so webbed, so horribly regimented, that no spring-cleaning is possible, everything must be burned, blown to bits, and then we can start afresh...<ref>Letter to [[Edvard Brandes]], 29 July 1880; quoted by Meyer (1985, 85).</ref>}}<br />
<br />
===1880s===<br />
[[File:Siri von Essen Sir Bengt's Wife Strindberg 1882.jpg|thumb|right|200px|Strindberg's first wife, [[Siri von Essen]], as Margit in ''Sir Bengt's Wife'' (1882) at the [[Swedish Theatre (Stockholm)|New Theatre]].]]<br />
Strindberg and Siri's daughter Karin was born on 26 February 1880.<ref name="Meyer 1985, 82">Meyer (1985, 82).</ref> Buoyant from the reception of ''[[The Red Room (Strindberg)|The Red Room]]'', Strindberg swiftly completed ''The Secret of the Guild'', an historical drama set in [[Uppsala]] at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the [[Royal Dramatic Theatre|Royal Theatre]] on 3 May 1880 (his first première in nine years); [[Siri von Essen|Siri]] played Margaretha.<ref>Meyer (1985, 81–2) and Robinson (2009, xix).</ref> That spring he formed a friendship with the painter [[Carl Larsson]].<ref name="Meyer 1985, 82"/> A collected edition of all of Strindberg's previous writings was published under the title ''Spring Harvest''.<ref>Meyer (1985, 81, 86). The first two volumes appeared in November and December 1880.</ref> From 1881, at the invitation of [[Edvard Brandes]], Strindberg began to contribute articles to the ''Morgenbladet'', a Copenhagen daily newspaper.<ref>Meyer (1985, 88).</ref> In April he began work on ''The Swedish People'', a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations.<ref>Meyer (1985, 83, 90–97) and Robinson (2009, xix).</ref> At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again.<ref>Meyer (1985, 90).</ref> Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of [[Kymmendö]].<ref>Meyer (1985, 91).</ref> That month, a collection of essays from the past ten years, ''Studies in Cultural History'', was published.<ref>Meyer (1985, 91) and Robinson (2009, xix). Meyer translates the title as ''Cultural-Historical Studies''. The collection includes Strindberg's assessment of [[Impressionism]].</ref> [[Ludvig Josephson]] (the new artistic director of Stockholm's [[Swedish Theatre (Stockholm)|New Theatre]]) agreed to stage ''[[Master Olof]]'', eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews.<ref>Meyer (1985, 89, 95) and Robinson (2009, xix). Lane gives the length of the production as six hours. The name of the theatre in Swedish is Nya Teatern. Two former theatres of Stockholm have used this name (one is also known as the [[Swedish Theatre (Stockholm)|Swedish Theatre]], which burnt-down in 1925, while the other, [[Mindre teatern]], was demolished in 1908). August Lindberg took over from Edvard Stjernström, who founded the one known as the Swedish Theatre; see Lane (1998, 1040) and Meyer (1985, 89).</ref> While this production of ''Master Olof'' was his breakthrough in the theatre, Strindberg's five-act [[Fairy tale|fairy-tale]] play ''Lucky Peter's Journey'', which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a [[potboiler]].<ref>Lane (1998, 1040), Meyer (1985, 96), and Robinson (2009, xix).</ref> In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season.<ref>Meyer (1985, 96–97).</ref><br />
<br />
Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of [[anti-establishment]] short stories, ''The New Kingdom''.<ref>Meyer (1985, 99).</ref> While there, to provide a lead role for his wife and as a reply to [[Henrik Ibsen]]'s ''[[A Doll's House]]'' (1879), he also wrote ''Sir Bengt's Wife'', which opened on 25 November 1882 at the New Theatre.<ref>Meyer (1985, 81, 102) and Robinson (2009, xix–xx).</ref> He moved to [[Grez-sur-Loing]], just south of Paris, France, where Larsson was staying. He then moved to [[Paris]], which they found noisy and polluted. Income earned from ''Lucky Peter's Journey'' enabled him to move to [[Switzerland]] in 1883. He resided in [[Ouchy]], where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans.<ref>Meyer (1985, 126) and Robinson (2009, xx).</ref><br />
<br />
[[File:Strindberg's reception in Stockholm 20-10-1884.jpg|thumb|left|250px|Newspaper illustration of Strindberg's reception on his return to Stockholm on 20 October 1884 to face charges of [[blasphemy]] arising from a story in the first volume of his collection ''[[Getting Married (collection)|Getting Married]]''.]]<br />
In 1884 Strindberg wrote a collection of short stories, ''[[Getting Married (collection)|Getting Married]]'', that presented women in an [[egalitarian]] light and for which he was tried for and acquitted of [[blasphemy]] in Sweden.<ref>Meyer (129–141) and Robinson (2009, xx).</ref> Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that [[Sophia of Nassau|Queen Sophia]] was behind it.<ref>Meyer (1985, 135).</ref> By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up."<ref>Quoted by Meyer (1985, 142).</ref> In May 1885 he wrote: "I am on my way to becoming an [[atheist]]."<ref>Meyer (145).</ref> In the wake of the publication of ''Getting Married'', he began to correspond with [[Émile Zola]].<ref>Meyer (1985, 143).</ref> During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first.<ref>Meyer (1985, 130, 146–147).</ref> Another collection of stories, ''Utopias in Reality'', was published in September 1885, though it was not well received.<ref>Meyer (1985, 147).</ref><br />
<br />
In 1885, they moved back to Paris.{{Citation needed|date=May 2010}} In September 1887 he began to write a novel in French about his relationship with Siri von Essen called ''[[The Defence of a Fool]]''.<ref>Lagercrantz (1984, 55), Meyer (1985, 178–179), and Schleussner (1912). The title of the novel (''Le Plaidoyer d'un Fou'') has also been translated as ''The Confession of a Fool'', ''A Madman's Defence'' and ''A Fool's Apology''. [https://archive.org/details/cu31924100213770 A public domain English-language translation is available online].</ref> In 1887, they moved to Issigatsbühl, near [[Lindau]] by [[Lake Constance]]. His next play, ''Comrades'' (1886), was his first in a contemporary setting.<ref>Robinson (2009, xxi). The play's original title was ''Marauders''. It received its première on 23 October 1905 at the Lustspieltheater in [[Vienna]].</ref> After the trial he evaluated his religious beliefs, and concluded that he needed to leave [[Lutheranism]], though he had been Lutheran since childhood; and after briefly being a [[deist]], he became an [[atheist]]. He needed a [[credo]] and he used [[Jean-Jacques Rousseau]] nature worshiping, which he had studied while a student, as one. His works ''[[The People of Hemsö]]'' (1887) and ''Among French Peasants'' (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with [[Chancellor]] [[Otto von Bismarck]]'s [[Prussia]] status of the officer corps. After that, he grew very critical of Rousseau and turned to [[Friedrich Nietzsche]]'s philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in ''The Defence of a Fool'' (1893), ''Pariah'' (1889), ''[[Creditors (play)|Creditors]]'' (1889), and ''By the Open Sea'' (1890).<br />
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Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began ''[[The Son of a Servant]]'', a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or ''The Red Room'', describes his years as a poet and journalist; it ends with his meeting [[Siri von Essen]]. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled ''He and She'', this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period.<br />
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In the later half of the 1880s Strindberg discovered [[Naturalism (theatre)|Naturalism]]. After completing ''[[The Father (Strindberg)|The Father]]'' in a matter of weeks, he sent a copy to [[Émile Zola]] for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing ''The Father'', Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in ''[[The Wild Duck]]'' (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in [[Copenhagen]]. While there he had several opportunities to meet with both [[Georg Brandes]] and his brother [[Edvard Brandes]]. Georg helped him put on ''The Father'', which had its première on 14 November 1887 at the Casino Theatre in Copenhagen.<ref>Meyer (1985, 183) and Robinson (2009, xxi).</ref> It enjoyed a successful run for eleven days after which it toured the Danish provinces.<ref>Meyer (1985, 183–185).</ref><br />
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[[File:MissJulie1906.jpg|thumb|right|300px|First Stockholm production of Strindberg's 1888 [[Naturalism (theatre)|naturalistic]] play ''[[Miss Julie]]'', staged at The People's Theatre in November 1906. Sacha Sjöström (left) as Kristin, Manda Björling as Miss Julie, and August Falck as Jean.]]<br />
Before writing ''[[Creditors (play)|Creditors]]'', Strindberg completed one of his most famous pieces, ''[[Miss Julie]]''. He wrote the play with a Parisian stage in mind, in particular the [[Théâtre Libre]], founded in 1887 by [[André Antoine]]. In the play he used [[Charles Darwin]]'s theory of [[survival of the fittest]] and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman.<br />
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In the essay ''On Psychic Murder'' (1887), he referred to the psychological theories of the [[Nancy School]], which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as ''Creditors'' (1889), ''The Stronger'' (1889), and ''Pariah'' (1889).<br />
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In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from [[Herman Bang]], [[Gustav Wied]] and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native [[Finland]] with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of ''The Bond and the Link'' (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was ''[[The Stronger]]'' (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works.<br />
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August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In ''Strindberg och alkoholen'' (1985), James Spens discusses Strindberg's drinking habits, including his liking for [[absinthe]] and its possible implications for Strindberg's mental health during the inferno period.<br />
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===1890s===<br />
[[File:August Strindberg by Edvard Munch.jpg|thumb|right|[[Edvard Munch]] ''Portrait of August Strindberg'', 1892, [[Moderna Museet|Museum of Modern Art]], [[Stockholm, Sweden]]]]<br />
After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. [[Symbolism (arts)|Symbolism]] was just beginning at this time. [[Verner von Heidenstam]] and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: ''Debit and Credit'' (1892), ''Facing Death'' (1892), ''Motherly Love'' (1892), and ''The First Warning'' (1893). His play ''The Keys of Heaven'' (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, ''Playing with Fire'' (1893), and the first two parts of his post-inferno trilogy ''To Damascus'' (1898–1904).<br />
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In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. [[Otto Brahm]]'s Freie Bühne theatre premiered some of his famous works in Germany, including ''The Father'', ''Miss Julie'', and ''[[Creditors (play)|Creditors]]''.<br />
[[File:Ślewiński August Strindberg.jpg|thumb|[[Władysław Ślewiński]], ''Portrait of August Strindberg'', 1896, [[National Museum in Warsaw]]]]<br />
Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to [[Frida Uhl]], who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me."<br />
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Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and [[Olof Lagercrantz]], believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as [[botany]], [[chemistry]], and [[optics]] before returning to literature with the publication of ''Inferno'' (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, ''Legends'', and a semi-dramatic novella, ''Jacob Wrestling'' (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of [[Emanuel Swedenborg]] on his current work.<br />
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[[File:Eric XIV - M. Chekhov 1921.jpg|thumb|left|175px|[[Michael Chekhov]] as Erik in the [[Moscow Art Theatre]] 1921 production of Strindberg's play ''[[Eric XIV (play)|Erik XIV]]'' (1899).]]<br />
"The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As [[William Blake]], [[Ralph Waldo Emerson]], [[Honoré de Balzac]], and [[William Butler Yeats]] had been, he was drawn to [[Swedenborg]]'s mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by [[Divine Providence|Providence]] to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life.<br />
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Strindberg had spent the tail end of 1896 and most of 1897 in the university town of [[Lund]] in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; ''Inferno, Legends'' and ''Jacob Wrestling'' were written there. In 1899, he returned permanently to Stockholm, following a successful production there of ''Master Olof'' in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: ''The Saga of the Folkungs'' (1899), ''Gustavus Vasa'' (1899), and ''Erik XIV'' (1899) and ''[[A Dream Play]]'' (written in 1901, first performed in 1907).<br />
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===1900s===<br />
{{more citations needed section|date=May 2017}}<br />
Strindberg was pivotal in the creation of [[chamber play]]s. [[Max Reinhardt]] was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including ''The Bond'', ''The Stronger'', and ''The Outlaw''). Once [[Otto Brahm]] relinquished his role as head as of the [[Deutsches Theater (Berlin)|Deutsches Theatre]], Reinhardt took over and produced Strindberg's plays.<br />
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In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about [[Martin Luther]], [[Plato]], [[Moses]], [[Jesus Christ]], and [[Socrates]]. He wrote another historical drama in 1908 after the [[Royal Dramatic Theatre|Royal Theatre]] convinced him to put on a new play for its sixtieth birthday. He wrote ''The Last of the Knights'' (1908), ''Earl Birger of Bjalbo'' (1909), and ''The Regents'' (1909).<br />
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[[File:Portrait of August Strindberg by Richard Bergh 1905.jpg|thumb|right|A portrait of August Strindberg by [[Richard Bergh]] (1905).]]<br />
His other works, such as ''Days of Loneliness'' (1903), ''The Roofing Ceremony'' (1907), and ''The Scapegoat'' (1907), and the novels ''The Gothic Rooms'' (1904) and ''Black Banners Genre Scenes from the Turn of the Century'',<ref>{{Cite web|url=http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=54157&concordeid=310783|archive-url=https://web.archive.org/web/20120401204924/http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=54157&concordeid=310783|url-status=dead|title=Strindberg, August. Translated and with an Introduction by Donald K. Weaver. Series: Studies on Themes and Motifs in Literature – Volume 101. Peter Lang, New York, 2010.|archive-date=1 April 2012}}</ref> (1907) have been viewed as precursors to [[Marcel Proust]] and [[Franz Kafka]].<br />
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August Falck, an actor, wanted to put on a production of ''Miss Julie'' and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of ''Miss Julie''. August Falck, played Jean and Manda Bjorling played Julie.<br />
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In 1909, Strindberg thought he might get the [[Nobel Prize in Literature]], but instead lost to [[Selma Lagerlöf]], the first woman and first Swede to win the award. The leader of the [[Social Democratic Youth of Denmark|Social Democrat Youth Alliance]] started a fund-raiser for a special "people's award". [[Nathan Söderblom]] (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. [[Albert Bonniers förlag]], who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial.<ref>[[Karin Smirnov]] (''née'' Strindberg), ''Strindbergs första hustru'' (Strindberg's first wife), 1925 and [[Olof Lagercrantz]], ''August Strindberg'', 1979</ref> In 1912, she would pass away only a few weeks before him.<br />
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In 1907 Strindberg co-founded [[Strindbergs Intima Teater|The Intimate Theatre]] in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after [[Max Reinhardt]]'s Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: ''Thunder in the Air, The Burned Site, The Ghost Sonata'', and ''The Pelican''; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of ''The Pelican'' it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from [[Prince Eugen, Duke of Närke]], who attended the première of ''The Pelican''. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death;<br />
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===Death and funeral===<br />
[[File:Strindberg 2.jpg|thumb|right|Strindberg in his later years]]<br />
Strindberg died shortly after the first staging of one of his plays in the [[United States]] — ''[[The Father (Strindberg)|The Father]]'' opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor [[Warner Oland]].<ref>Oland and Oland (1912a) and (1912b, v).</ref> They jointly published their translations of his plays in book form in 1912.<br />
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During Christmas 1911, Strindberg became sick with [[pneumonia]] and he never recovered completely. He also began to suffer more clearly from a [[stomach cancer]] (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country.<ref name="gefle">{{cite news|url=http://www.gd.se/kultur/pa-nya-kyrkogarden-vill-jag-ligga |title=På Nya Kyrkogården vill jag ligga... |last=Attius |first=Håkan |language=sv |newspaper=[[Gefle Dagblad]] |date=22 May 2012 |access-date=26 June 2017}}</ref> He died on 14 May 1912 at the age of 63.<ref>{{cite web|url=https://play.google.com/store/books/details?id=j8ZMAAAAMAAJ&rdid=book-j8ZMAAAAMAAJ&rdot=1|title=August Strindberg: the spirit of revolt: studies and impressions|author=Lizzy Lind-af-Hageby|date=1 January 1913}}</ref><br />
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Strindberg was interred at [[Norra begravningsplatsen]] in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no [[death mask]] was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by [[Nathan Söderblom]] by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King [[Gustaf V]] sent a wreath for the bier.<ref name="gefle" /><ref name="svd funeral">{{cite news|url=https://www.svd.se/brottningen-med-gud-praglade-begravningen |title=Brottningen med Gud präglade begravningen |last=Krook |first=Caroline |language=sv |newspaper=[[Svenska Dagbladet]] |date=22 May 2012 |access-date=26 June 2017}}</ref><br />
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===Legacy===<br />
[[Tennessee Williams]], [[Edward Albee]], [[Maxim Gorky]], [[John Osborne]], and [[Ingmar Bergman]] are among the many artists who have cited Strindberg as an influence.<ref name="Adams 2002">Adams (2002).<!-- missing page numbers for citations --></ref> [[Eugene O'Neill]], upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists."<ref>{{cite web |url= http://nobelprize.org/nobel_prizes/literature/laureates/1936/oneill-speech.html |title= Banquet Speech |author= Eugene O'Neill |date= 10 December 1936 | publisher =The Nobel Foundation |access-date=12 July 2010}}</ref> Argentinian writer [[Jorge Luis Borges]] said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche".<ref>{{cite book |last1=Borges |first1=Jorge-Luis |title=Selected Non-Fictions |date=2000 |publisher=Penguin Books |location=New York |isbn=9780140290110 |page=179 |volume=3}}</ref><br />
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A multi-faceted author, Strindberg was often extreme. His novel ''[[The Red Room (Strindberg)|The Red Room]]'' (1879) made him famous. His early plays belong to the [[Naturalism (theatre)|Naturalistic]] movement. His works from this time are often compared with the Norwegian playwright [[Henrik Ibsen]]. Strindberg's best-known play from this period is ''[[Miss Julie]]''. Among his most widely read works is the novel ''[[The People of Hemsö]]''.<br />
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Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of [[Henrik Ibsen]] and rejected the convention of a dramatic "[[slice of life]]" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science.<br />
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Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, ''[[Inferno (Strindberg)|Inferno]]'' (1896–7) in which he dramatised his experiences. He also exchanged a few cryptic letters with [[Friedrich Nietzsche]].<ref>{{cite journal |last1=Scheffauer |first1=Herman |title=A Correspondence between Nietzsche and Strindberg |journal=The North American Review |date=1 August 1913 |volume=198 |url=https://archive.org/stream/jstor-25120062/25120062#page/n1/mode/2up |access-date=1 July 2018}}</ref><br />
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Strindberg subsequently ended his association with Naturalism and began to produce works informed by [[Symbolism (arts)|Symbolism]]. He is considered one of the pioneers of the modern European stage and [[Expressionism (theatre)|Expressionism]]. ''[[The Dance of Death (Strindberg)|The Dance of Death]]'', ''[[A Dream Play]]'', and ''[[The Ghost Sonata]]'' are well-known plays from this period.<br />
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His most famous and produced plays are ''[[Master Olof]]'', ''[[Miss Julie]]'', and ''[[The Father (Strindberg)|The Father]]''.<br />
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Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. ''Röda rummet'' (The Red Room), ''Hemsöborna'' (The People of Hemsö), ''Giftas'' (Getting Married), ''En dåres försvarstal'' (The Confession of a Fool), and ''Inferno'' remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, [[Augustpriset]], is named for Strindberg.<br />
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The Swedish Composer [[Ture Rangström]] dedicated his first Symphony, which was finished in 1914, to ''August Strindberg in memoriam''.<br />
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==Politics==<br />
[[File:Eldstrindbergmonument.jpg|thumb|250px|right|[[Carl Eldh]]'s grand statue of Strindberg in [[Tegnérlunden]], Stockholm. Dubbed ''The Titan'', it represents Strindberg as [[Prometheus]], tormented for defying the Gods.]]<br />
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An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the [[Swedish Armed Forces|military]], the [[Church of Sweden|church]], and the [[Monarchy of Sweden|monarchy]]. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of [[cultural radicalism]], but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death.<br />
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Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial ''enfant terrible'' of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life.<br />
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Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence.<br />
<br />
Influenced by the history of the 1871 [[Paris Commune]], young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the ''Red Room'' or ''Master Olof'' took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken [[socialist]], mainly influenced by [[anarchist]] or [[libertarian socialist]] ideas.<ref>[https://books.google.com/books?id=uXxcAAAAMAAJ&q=August+Strindberg+anarchist&dq=August+Strindberg+anarchist&hl=pt-PT&ei=0EO5Tu-_A4rysgb1l-XRBg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDAQ6AEwAA Inferno, Alone, and other writings: In new translations], August Strindberg, Edited by Evert Sprinchorn, Anchor Books, 1968, p. 62</ref><ref>[https://books.google.com/books?id=G-rbnAl3wKAC&pg=PA233 Selected essays], August Strindberg, Edited by Michael Robinson, Cambridge University Press, 1996, p. 233</ref> However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants.<br />
<br />
He read widely among socialist thinkers, including [[Cabet]], [[Charles Fourier|Fourier]], [[Baboeuf]], [[Henri de Saint-Simon|Saint-Simon]], [[Proudhon]], and [[Robert Owen|Owen]], whom he referred to as "friends of humanity and sharp thinkers."<ref name="Strindberg – En kooperatör">{{cite web |last1=Olsson |first1=Jan |title=Strindberg – En kooperatör |url=https://svenskkooperation.se/strindberg-kooperator/ |website=Svensk kooperation |access-date=13 April 2020 |date=17 October 2017}}</ref> "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms."''<ref name="Strindberg – En kooperatör"/><br />
<br />
By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the [[Marxist]]-influenced socialism then rising within the [[Swedish labour movement|Swedish labor movement]], Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life."<ref name="Östgöta-Correspondenten">{{cite news |last1=Kylberg |first1=Martin |title=Strindberg 2: Istappen och eftermälet |url=https://corren.se/kultur-noje/strindberg-2-istappen-och-eftermalet-6023386.aspx |access-date=3 November 2020 |publisher=Östgöta-Correspondenten |date=10 May 2012}}</ref><br />
<br />
Although he had been an early proponent of women's rights, calling for [[women's suffrage]] in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely [[misogyny|misogynistic]] statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for ''The Defence of A Fool'', begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher.<ref>{{cite book |last1=Strindberg |first1=August |title=Nationalupplagan, samlade verk 25: En dåres försvarstal |date=1999 |publisher=Norstedt |pages=534 |url=https://litteraturbanken.se/författare/StrindbergA/titlar/EnDåresFörsvarstal/sida/534/etext |access-date=30 July 2020}}</ref><br />
<br />
Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's [[anti-Jewish]] rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked [[Jews]] and [[Judaism]] as such.<ref>{{cite book |last1=Myrdal |first1=Jan |title=Johan August Strindberg |date=2003 |publisher=Natur och Kultur |pages=143–173 |url=http://runeberg.org/myrstrind/0141.html |access-date=30 July 2020}}</ref> The [[antisemitic]] outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, ''Det nya riket'', dedicated to heckling Swedish Jews (including an unflattering portrayal of [[Albert Bonnier]]). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, [[Jan Myrdal]] notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg."<ref>{{cite book |last1=Myrdal |first1=Jan |title=Johan August Strindberg |date=2003 |publisher=Natur och Kultur |pages=151 |url=http://runeberg.org/myrstrind/0149.html |access-date=30 July 2020}}</ref> Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884.{{cn|date=April 2021}}<br />
<br />
[[File:August Strindbergs Inferno 1897.jpg|thumb|The title page of the first edition of August Strindbergs "Inferno" from 1897]]<br />
A self-declared atheist in his younger years, Strindberg would also re-embrace [[Christianity]], without necessarily making his peace with the church. As noted by Stockholm's [[Strindberg Museum]], the personal and spiritual crisis that Strindberg underwent in [[Paris]] in the 1890s, which prompted the writing of ''Inferno'', had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by [[anarchism]], [[Rousseau]], [[Schopenhauer]], and [[Nietzsche]]; in the years after the crisis (1897 – 1911) he was influenced by [[Swedenborg]], [[Goethe]], [[Shakespeare]], and [[Beethoven]]."<ref>{{cite web |title=Strindbergs liv |url=https://www.strindbergsmuseet.se/om-strindberg/strindbergs-liv/ |website=Strindbergsmuséet |access-date=13 April 2020}}</ref><br />
<br />
In ''Inferno'', Strindberg notes his ideological and spiritual evolution:<br />
<br />
<blockquote> What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, ''Inferno'', Chapter XV.) </blockquote><br />
<br />
Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader [[Hjalmar Branting]], now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism.<ref name="Östgöta-Correspondenten"/> In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday:<br />
<br />
<blockquote> To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the [[Aeropagus]] of European erudition. But to the Strindberg of ''Black Banners'' [1907] and ''A Blue Book'' [1907-1912], who, in the shadows of ''Inferno'' [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in ''Social-Demokraten'', 22 January 1909.)<ref>{{cite book |last1=Myrdal |first1=Jan |title=Johan August Strindberg |date=2003 |publisher=Natur och Kultur |pages=46 |url=http://runeberg.org/myrstrind/0044.html |access-date=3 November 2020}}</ref> </blockquote><br />
<br />
Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion.<br />
<br />
In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king [[Charles XII]] ("pharao worship"), the lauded poet [[Verner von Heidenstam]] ("the spirit-seer of Djursholm"), and the famous author and traveler [[Sven Hedin]] ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics.<ref>{{cite web |last1=Andreas Nyblom |title=Strindbergsfejden 1910–1912 |url=https://litteraturbanken.se/presentationer/specialomraden/Strindbergsfejden.html |website=Litteraturbanken |access-date=13 April 2020 |date=2011}}</ref> In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent.<ref>{{cite news |last1=Krook |first1=Caroline |title=Brottningen med Gud präglade begravningen |url=https://www.svd.se/brottningen-med-gud-praglade-begravningen |access-date=3 November 2020 |publisher=Svenska Dagbladet |date=18 December 2012}}</ref><br />
<br />
Strindberg's daughter [[Karin Strindberg]] married a Russian [[Bolshevik]] of partially Swedish ancestry, [[Vladimir Smirnov (politician)|Vladimir Smirnov]] ("Paulsson").<ref>{{citation|title=RCHGI |publisher=SPB |year=2001 |url=http://www.rchgi.spb.ru/Pr/spb_2001/usykin.htm |language=ru |place=RU |contribution=Usykin |url-status=dead |archive-url=https://web.archive.org/web/20100718051144/http://www.rchgi.spb.ru/Pr/spb_2001/usykin.htm |archive-date=18 July 2010 }}</ref><br />
<br />
==Painting==<br />
[[File:August Strindberg photographic selfportrait 1.jpg|thumb|right|Self-portrait at Värmdö-Brevik, [[Tyresö Municipality]], in 1891]]<br />
[[File:The Town, 1903.jpg|thumb|left|''[[The Town (Strindberg)|The Town]]'' – painting by Strindberg from 1903]]<br />
Strindberg, something of a [[polymath]], was also a [[Telegraphy|telegrapher]], [[Theosophy (Blavatskian)|theosophist]], painter, photographer and [[alchemy|alchemist]].<br />
<br />
Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process.<ref>{{Cite web|url=http://www.tate.org.uk/modern/exhibitions/strindberg/default.shtm|archive-url=https://web.archive.org/web/20071230200839/http://www.tate.org.uk/modern/exhibitions/strindberg/default.shtm|url-status=dead|title=Strindberg exhibition, Tate Modern|archive-date=30 December 2007}}</ref><br />
<br />
Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art.<ref>Gunnarsson (1998, 256–60).</ref><br />
<br />
Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with [[Edvard Munch]] and [[Paul Gauguin]], and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. [[Anders Zorn]] also did a portrait.<ref>Gunnarsson (1998, 256).</ref><br />
{{Clear}}<br />
<gallery widths="160px" heights="180px" perrow="5"><br />
File:The White Mare II (August Strindberg) - Nationalmuseum - 36625.tif|''The white horse'', 1892<br />
File:Underlandet, (Kraina czarow), 1892.jpg|''The wonderland'', 1894<br />
File:Seascape, 1894.jpg|''Marin'', 1894<br />
<br />
File:Coastal Landscape (August Strindberg) - Nationalmuseum - 19781.tif|''The coast II'', 1903<br />
File:August Strindberg - Björken I (Höst).jpg|''Birch autumn I''<br />
</gallery><br />
{{Clear}}<br />
<br />
==Photography==<br />
Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of [[photogram]] that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted;<br />
{{quote|"Today, in these days of x-rays, the miracle was that neither a camera nor a lens was used. For me this means a great opportunity to demonstrate the real circumstances by means of my photographs made without a camera and lens, recording the firmament in early spring 1894."<ref>{{Cite web|url=https://www.iwm.at/publications/5-junior-visiting-fellows-conferences/vol-xxix/katharina-steidl-2/|title=Traces of/by nature:August Strindberg's photographic experiments of the 1890s|date=2011-02-10|website=IWM|language=en-US|access-date=2019-07-06}}</ref>}}<br />
<br />
His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific.<br />
In 1895 Strindberg met [[Camille Flammarion]] and became a member of the [[Société astronomique de France]].<ref>[http://gallica.bnf.fr/ark:/12148/bpt6k9667257k/f456.image [[L'Astronomie (magazine)|''Bulletin de la Société Astronomique de France'']]] 1896, p. 438.]</ref> He gave some of his experimental astronomical photographs to the Society.<ref>Michael Robinson. ''August Strindberg: Selected Essays'' (New York: Cambridge University Press, 2006), p. 260.</ref><br />
<br />
==Occult studies==<br />
[[Alchemy]], [[occultism]], [[Swedenborgianism]], and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life.<br />
<br />
In the curious and experimental 1897 work ''[[Inferno (Strindberg)|Inferno]]'' – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast [[black magic]] spells on his daughter. Much of ''Inferno'' indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. [[Olof Lagercrantz]] has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production.<ref>{{cite book |last1=Lagercrantz |first1=Olof |title=Olof Lagercrantz |date=1979 |publisher=Wahlström & Widstrand |location=Stockholm}}</ref><br />
<br />
==Personal life==<br />
[[File:Bosse as Indra's daughter in A Dream Play.1907.png|thumb|right|220px|Strindberg's third wife, the actress [[Harriet Bosse]], as Indra's Daughter in the 1907 première of ''[[A Dream Play]]'']]<br />
Strindberg was married three times, as follows:<br />
* [[Siri von Essen]]: married 1877–1891 (14 years), 3 daughters ([[Karin Smirnov]], Greta, and another who died in infancy), 1 son (Hans);<br />
* [[Frida Uhl]]: married 1893–1895, (2 years) 1 daughter (Kerstin); and<br />
* [[Harriet Bosse]]: married 1901–1904 (3 years), 1 daughter (Anne-Marie).<br />
<br />
Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated.<ref>Falkner (1921). The book's title includes the name of Strindberg's home in his final years (Bla Tornet).</ref> He had a brief affair in Berlin with [[Dagny Juel]] before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet.<br />
<br />
He was related to [[Nils Strindberg]] (a son of one of August's cousins).<br />
<br />
Strindberg's relationships with women were troubled and have often been interpreted as [[misogyny|misogynistic]] by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the [[gender roles|traditional roles of the sexes]] imposed by society, which he criticized as unjust.<br />
<br />
Strindberg's last home was [[Blå tornet]] in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is [[Carl Eldh]]'s, erected in 1942 in [[Tegnérlunden]], a park adjoining this house.<br />
<br />
==Bibliography==<br />
{{Main|August Strindberg bibliography}}<br />
{{Category see also|Novels by August Strindberg|Plays by August Strindberg}}<br />
{{Portal|Theatre|Novels}}<br />
* La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p.<br />
*''The Growth of a Soul'' (1914)<br />
*''The German Lieutenant, and Other Stories'' (1915)<br />
*''There Are Crimes and Crimes''<br />
<br />
==Further reading==<br />
* [[William Everdell|Everdell, William R.]], [[The First Moderns|''The First Moderns: Profiles in the Origins of Twentieth-Century Thought'']]. Chicago: [[University of Chicago Press]], 1997. {{ISBN|0-226-22480-5}} (cloth) {{ISBN|0-226-22481-3}} (bpk)<br />
* Brita M. E. Mortensen, Brian W. Downs, ''Strindberg: An Introduction to His Life and Work'', Cambridge: Cambridge University Press, 1965 [http://suncat.csun.edu/record=b1079731 ]<br />
* {{cite journal|last1=Hallström|first1=Fatima|title=Strindberg: The Verbalizer as Visualizer|journal=Black & White|date=Feb 2002|volume=4|issue=17|pages=70–72|issn=1522-4805}}<br />
* {{Citation |last=Heller |first=Otto |author-link=Otto Heller (author) |contribution=[[wikisource:Prophets of Dissent: Essays on Maeterlinck, Strindberg, Nietzsche and Tolstoy/II.|The Eccentricity of August Strindberg]] |title=Prophets of Dissent |location=New York |publisher=Alfred A. Knopf |year=1918 |pages=71–105|title-link=wikisource:Prophets of Dissent: Essays on Maeterlinck, Strindberg, Nietzsche and Tolstoy }}<br />
* Prideaux, Sue, ''Strindberg: A Life'', New Haven, CT: Yale University Press, 2012. {{ISBN|978-0300136937}}<br />
*[https://www.bloomsbury.com/uk/august-strindberg-and-visual-culture-9781501338021/ Schroeder, J., Stenport, A., and Szalczer, E., editors, ''August Strindberg and Visual Culture''], New York: Bloomsbury, 2018. {{ISBN|978-1-5013-3800-7}}<br />
* Sprinchorn, Evert, ''Strindberg As Dramatist'', New Haven, CT: Yale University Press, 1982. {{ISBN|978-0300027310}}<br />
<br />
==Sources==<br />
{{refbegin|30em}}<br />
* Adams, Ann-Charlotte Gavel, ed. 2002. ''Dictionary of Literary Biography''. Vol. 259 ''Twentieth-Century Swedish Writers Before World War II''. Detroit, MI: Gale. {{ISBN|0-7876-5261-X}}.<br />
* Carlson, Marvin. 1993. ''Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present.'' Expanded ed. Ithaca and London: Cornell University Press. {{ISBN|978-0-8014-8154-3}}.<br />
* Ekman, Hans-Göran. 2000. ''Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays''. London and New Brunswick, New Jersey: Athlone. {{ISBN|0-485-11552-2}}.<br />
* <br />
* Gunnarsson, Torsten. 1998. ''Nordic Landscape Painting in the Nineteenth Century''. New Haven: Yale UP. {{ISBN|0-300-07041-1}}.<br />
* Innes, Christopher, ed. 2000. ''A Sourcebook on Naturalist Theatre''. London and New York: Routledge. {{ISBN|0-415-15229-1}}.<br />
* Lagercrantz, Olof. 1984. ''August Strindberg''. Trans. Anselm Hollo. New York: Farrar Straus Giroux. {{ISBN|0-374-10685-1}}.<br />
* Lane, Harry. 1998. "Strindberg, August." In ''The Cambridge Guide to Theatre.'' Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. {{ISBN|0-521-43437-8}}.<br />
* {{citation | last2 = Martinus | first2 = Eivor, trans | year = 1987 | title = Motherly Love, Pariah, The First Warning | first1 = August | last1 = Strindberg | place = Oxford | publisher = Amber Lane | isbn = 0-906399-79-3}}.<br />
* {{citation | last2 = Martinus | first2 = Eivor, trans | year = 1990 | title = The Great Highway | first1 = August | last1 = Strindberg | series = Classics | place = Bath | publisher = Absolute | isbn = 0-948230-28-2}}.<br />
* {{citation | editor-last = McLeish | editor-first = Kenneth | year = 1995 | title = Miss Julie | first = August | last = Strindberg | place = London | publisher = [[Nick Hern Books]] | isbn = 978-1-85459-205-7}}<br />
* {{citation | year = 1995 | title = Encyclopedia of Literature | place = Springfield, MA | publisher = Merriam-Webster | isbn = 0-87779-042-6}}.<br />
* {{citation | last = Meyer | first = Michael | orig-year = 1985 | title = Strindberg: A Biography | series = Lives | place = Oxford | publisher = Oxford UP | year = 1987 | isbn = 0-19-281995-X}}.<br />
* {{citation | last1 = Oland | first1 = Edith | first2 = Wärner, transl. | last2 = Oland | year = 1912 | title = Plays | volume = 1: The Father, Countess Julie, The Outlaw, The Stronger | first3 = August | last3 = Strindberg | place = Boston | publisher = Luce | url = https://archive.org/details/plays00olangoog}}.<br />
* {{citation | last1 = Oland | first1 = Edith | first2 = Wärner, transl. | last2 = Oland | year = 1912 | title = Plays | volume = 2: Comrades, Facing Death, Pariah, Easter | first3 = August | last3 = Strindberg | place = Boston | publisher = Luce | url = https://archive.org/details/playsfathercoun00warngoog}}.<br />
* {{citation | editor1-last = Oland | editor1-first = Edith | first1 = Wärner, transl. | last1 = Oland | year = 1912 | title = Plays | volume = 3: "Swanwhite, Advent, The Storm | first2 = August | last2 = Strindberg | place = Boston | publisher = Luce | url = https://archive.org/details/plays01olangoog}}.<br />
* {{citation | last1 = Paulson | first1 = Arvid, transl | year = 1970 | title = World Historical Plays | first2 = August | last2 = Strindberg | place = New York | publisher = Twayne Publishers & The American-Scandinavian Foundation | isbn = 1-135-84140-3}}.<br />
* {{citation | editor-last = Robinson | editor-first = Michael |year= 2009 | title = The Cambridge Companion to August Strindberg | series = Companions to Literature | place = Cambridge | publisher = Cambridge UP | isbn = 978-0-521-60852-7}}.<br />
* {{citation |last1=Sandbach |first1=Mary, transl |orig-year=1984 |title=By The Open Sea |first2=August |last2=Strindberg |place=Harmondsworth, Middlesex |publisher=Penguin |year=1987 |isbn=0-14-044488-2 |url-access=registration |url=https://archive.org/details/byopensea0000stri }}.<br />
* {{citation | last1 = Schluessner | first1 = Ellie, transl | year = 1912 | title = The Confession of a Fool | first2= August | last2= Strindberg | place = London | publisher = Stephen Swift | url = https://archive.org/details/cu31924100213770}}.<br />
* {{citation | last1 = Schluessner | first1 = Ellie, transl | year = 1913 | title = The Red Room | first2= August | last2= Strindberg | place = New York and London | publisher = Putnam | url = https://archive.org/details/redroom00schlgoog}}.<br />
* Ward, John. 1980. ''The Social and Religious Plays of Strindberg.'' London: Athlone. {{ISBN|0-485-11183-7}}.<br />
* {{citation | author-link = Raymond Williams | last = Williams | first = Raymond | orig-year = 1968 | title = Drama from Ibsen to Brecht | place = London | publisher = Hogarth | year = 1987 | isbn = 0-7012-0793-0 | url-access = registration | url = https://archive.org/details/dramafromibsento0000will_j7u4 }}.<br />
* {{citation | author-link = Raymond Williams | last = Williams | first = Raymond | year = 1966 | title = Modern Tragedy | place = London | publisher = Chatto & Windus | isbn = 0-7011-1260-3}}.<br />
* {{citation | author-link = Raymond Williams | last = Williams | first = Raymond | year = 1989 | title = The Politics of Modernism: Against the New Conformists | editor-first = Tony | editor-last = Pinkney | place = London and New York | publisher = Verso | isbn = 0-86091-955-2}}.<br />
{{refend}}<br />
<br />
==References==<br />
{{reflist|colwidth=30em}}<br />
<br />
==External links==<br />
<br />
===English-language translations in the public domain===<br />
* {{Gutenberg author |id=1609}}<br />
* {{Internet Archive author |sname=August Strindberg}}<br />
* {{Librivox author |id=85}}<br />
<br />
;Public domain translations of Strindberg's drama<br />
* [https://archive.org/details/plays00olangoog ''The Father, Countess Julie, The Outlaw, The Stronger'' ]<br />
* [https://archive.org/details/playsfathercoun00strigoog ''Comrades, Facing Death, Pariah, Easter'' ]<br />
* [https://archive.org/details/plays01olangoog ''Swanwhite, Advent, The Storm'' ]<br />
* [https://archive.org/details/playss2strind00striuoft ''There are Crimes and Crimes'', ''Miss Julia'', ''The Stronger'', ''Creditors'', and ''Pariah'' ]<br />
* [https://archive.org/details/cu31924072162997 ''To Damascus Part 1'' ]<br />
* [https://archive.org/details/theroadtodamascu08875gut ''Road To Damascus Parts 1, 2, and 3'' ]<br />
<br />
;Public domain translations of Strindberg's novels<br />
* [https://archive.org/details/redroom00schlgoog ''The Red Room''].<br />
* [https://archive.org/details/cu31924100213770 ''The Confession of a Fool''].<br />
<br />
===Other===<br />
{{Commons|August Strindberg}}{{wikisource author}}{{wikiquote|August Strindberg}}<br />
* {{IBDB name|4361}}<br />
* {{IMDb name|0834529}}<br />
* [https://www.flickr.com/photos/25300312@N08/collections/72157629072046712/ Photographs by Strindberg] from the [[National Library of Sweden]] on Flickr<br />
* {{citation | url = http://runeberg.org/authors/strindbg.html | title = Works | first = August | last = Strindberg | publisher = [[Projekt Runeberg]] | language = sv}}.<br />
* {{citation | url = http://litteraturbanken.se/#!/forfattare/StrindbergA/titlar | title = Collected works and manuscripts| first = August | last = Strindberg | publisher = [[Swedish Literature Bank]] | language = sv}}.<br />
* {{citation|url=http://www.littvet.su.se/strb/ |edition=National |last=Strindberg |title=Collected works |publisher=[[Stockholm University]] |language=sv |url-status=dead |archive-url=https://web.archive.org/web/20011031165800/http://www.littvet.su.se/strb/ |archive-date=31 October 2001 }}.<br />
* {{citation | url = http://spraakbanken.gu.se/konk/ | contribution = Concordance | title = Språkbanken | publisher = [[Gothenburg University]] | place = SE | access-date = 8 October 2009 | archive-url = https://web.archive.org/web/20100124021814/http://spraakbanken.gu.se/konk/ | archive-date = 24 January 2010 | url-status = dead }}.<br />
* [http://www.absinthe.se/absinthe-drinkers/august-strindberg August Strindberg and absinthe; in his life and in his works]<br />
* {{citation | url = http://www.auguststrindberg.se/index2.htm | trans-title = The Strindberg Society | title = Strindbergssällskapet | access-date = 11 April 2010 | archive-url = https://web.archive.org/web/20100812063835/http://www.auguststrindberg.se/index2.htm | archive-date = 12 August 2010 | url-status = dead }}.<br />
* {{citation | url = http://www.strindbergsmuseet.se/index_eng.html | archive-url = https://web.archive.org/web/19980611232745/http://www.strindbergsmuseet.se/index_eng.html | url-status = dead | archive-date = 1998-06-11 | trans-title = The Strindberg museum | title = Strindbergs Museet | place = SE }}.<br />
* {{citation | url = http://www.strindbergmuseum.at/ | title = Strindberg Museum in Austria | place = Saxen, Upper Austria | language = de}}.<br />
* {{citation | url = http://www.tassla.org/ | title = August Strindberg Society | place = Los Angeles, CA, USA | access-date = 11 April 2005 | archive-url = https://web.archive.org/web/20110728081955/http://www.tassla.org/ | archive-date = 28 July 2011 | url-status = dead }}.<br />
* {{citation | url = http://www.ausstage.edu.au/indexdrilldown.jsp?xcid=59&f_contrib_id=2590 | title = Productions of Strindberg's plays | place = Australia | publisher = AusStage}}<br />
* {{citation | url = http://cabinetmagazine.org/issues/3/celesographs.php | contribution = The Celestographs of August Strindberg | title = Cabinet | number = 3 | date = Summer 2001}}.<br />
* {{citation | url = http://www.britishtheatreguide.info/articles/130305.htm | title = Review of exhibition of paintings by Strindberg | publisher = British Theatre Guide | access-date = 14 November 2008 | archive-url = https://web.archive.org/web/20160303214821/http://www.britishtheatreguide.info/articles/130305.htm | archive-date = 3 March 2016 | url-status = dead }}<br />
* {{citation | url = http://www.strindbergandhelium.com/ | title = Strindberg and Helium}}.<br />
* {{citation | url = https://books.google.com/books?id=G-rbnAl3wKAC&pg=PA103 | contribution = The New Arts! or The Role of Chance in Artistic Creation | title = Selected essays | first = August | last = Strindberg | editor-first = Michael | editor-last = Robinson }}.<br />
* [http://www.wdl.org/en/item/11624/ ''A Dream Play''] (manuscript) at [http://wdl.org World Digital Library]<br />
* Burkhart Brückner: [http://biapsy.de/index.php/en/9-biographien-a-z/240-strindberg-johann-august Biography of Johan August Strindberg''] in: [http://biapsy.de/index.php/en/ Biographical Archive of Psychiatry (BIAPSY)].<br />
<br />
{{August Strindberg}}<br />
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{{Authority control}}<br />
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{{DEFAULTSORT:Strindberg, August}}<br />
[[Category:August Strindberg| ]]<br />
[[Category:1849 births]]<br />
[[Category:1912 deaths]]<br />
[[Category:19th-century alchemists]]<br />
[[Category:19th-century Swedish dramatists and playwrights]]<br />
[[Category:19th-century Swedish novelists]]<br />
[[Category:19th-century Swedish painters]]<br />
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[[Category:Deaths from cancer in Sweden]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Buckingham_Palace&diff=939434097Buckingham Palace2020-02-06T13:01:15Z<p>5.35.187.134: </p>
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<div>{{pp-move|small=yes}}<br />
{{short description|Official London residence and principal workplace of the British monarch}}<br />
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[[File:Buckingham Palace from gardens, London, UK - Diliff (cropped).jpg|thumb|upright=1.6|alt=A wide, rectangular facade displaying two rows of 23 windows; columns stand out at each end and in the centre. |The principal [[Facade|façade]] of Buckingham Palace, the East Front, was originally constructed by [[Edward Blore]] and completed in 1850. It was remodelled by [[Sir Aston Webb]] in 1913.]]<br />
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'''Buckingham Palace''' ({{IPAc-en|uk|ˈ|b|ʌ|k|ɪ|ŋ|ə|m}}<ref>{{Cite web |url=http://www.collinsdictionary.com/dictionary/english/buckingham?showCookiePolicy=true |title=Buckingham |date=n.d. |publisher=Collins Dictionary |access-date=23 September 2014}}</ref><ref>{{Cite web |url=http://www.collinsdictionary.com/dictionary/english/palace?showCookiePolicy=true |title=Palace |date=n.d. |publisher=Collins Dictionary |access-date=23 September 2014}}</ref>) is the [[London]] [[official residence|residence]] and administrative headquarters of the [[monarchy of the United Kingdom]].{{efn|By tradition, the [[Court of St James's|British Royal Court]] is officially resident at [[St James's Palace]], which means that, while foreign [[ambassador]]s assuming their new position are received by the [[British sovereign]] at Buckingham Palace, they are accredited to the "Court of St James's Palace". This anomaly continues for the sake of tradition, as Buckingham Palace is to all intents and purposes the [[official residence]]. See [https://web.archive.org/web/20100529122601/http://www.royal.gov.uk/TheRoyalResidences/StJamessPalace/History.aspx History of St James's Palace] (Official website of the British Monarchy).}}<ref name="royal.uk">{{Cite web |url=https://www.royal.uk/royal-residences-buckingham-palace |title=Buckingham Palace |last=Royal Household |date=12 November 2015 |website=Royal Family website |access-date=21 April 2016}}</ref> Located in the [[City of Westminster]], the palace is often at the centre of state occasions and royal hospitality. It has been a focal point for the [[British people]] at times of national rejoicing and mourning.<br />
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Originally known as '''Buckingham House''', the building at the core of today's palace was a large [[townhouse (Great Britain)|townhouse]] built for the [[John Sheffield, 1st Duke of Buckingham and Normanby|Duke of Buckingham]] in 1703 on a site that had been in private ownership for at least 150 years. It was acquired by [[King George&nbsp;III]] in 1761<ref name="rob14">Robinson, p. 14.</ref> as a private residence for [[Queen Charlotte]] and became known as ''The Queen's House''. During the 19th&nbsp;century it was enlarged, principally by architects [[John Nash (architect)|John Nash]] and [[Edward Blore]], who constructed three wings around a central courtyard. Buckingham Palace became the London residence of the British monarch on the accession of [[Queen Victoria]] in 1837.<br />
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The last major structural additions were made in the late 19th and early 20th centuries, including the East Front, which contains the well-known balcony on which the royal family traditionally congregates to greet crowds. A German bomb destroyed the palace chapel during [[World War II]]; the [[Queen's Gallery]] was built on the site and opened to the public in 1962 to exhibit works of art from the [[Royal Collection]].<br />
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The original early 19th-century interior designs, many of which survive, include widespread use of brightly coloured [[scagliola]] and blue and pink [[Lapis lazuli|lapis]], on the advice of [[Charles Long, 1st Baron Farnborough|Sir&nbsp;Charles Long]]. [[King Edward&nbsp;VII]] oversaw a partial redecoration in a ''[[Belle Époque]]'' cream and gold colour scheme. Many smaller reception rooms are furnished in the Chinese [[Chinoiserie|regency]] style with furniture and fittings brought from the [[Royal Pavilion]] at [[Brighton]] and from [[Carlton House, London|Carlton House]]. The palace has 775 rooms, and [[Buckingham Palace Garden|the garden]] is the largest private garden in London. The state rooms, used for official and state entertaining, are open to the public each year for most of August and September and on some days in winter and from salma.<br />
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==History==<br />
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===Site===<br />
[[File:Buckingham House 1710.jpeg|thumb|Buckingham House, c. 1710, was designed by [[William Winde]] for the 1st Duke of Buckingham and Normanby.<!--note - "Normanby" is correct spelling, do not change please --> This façade evolved into today's Grand Entrance on the west (inner) side of the quadrangle, with the Green Drawing Room above it.]]<br />
In the [[Middle Ages]], the site of the future palace formed part of the [[Manor of Ebury]] (also called Eia). The marshy ground was watered by the river [[Tyburn (stream)|Tyburn]], which still flows below the courtyard and south wing of the palace.<ref>Goring, p. 15.</ref> Where the river was fordable (at Cow Ford), the village of Eye Cross grew. Ownership of the site changed hands many times; owners included [[Edward the Confessor]] and his [[queen consort]] [[Edith of Wessex]] in late Saxon times, and, after the [[Norman conquest of England|Norman Conquest]], [[William the Conqueror]]. William gave the site to [[Geoffrey de Mandeville (11th&nbsp;century)|Geoffrey de Mandeville]], who bequeathed it to the monks of [[Westminster Abbey]].{{efn|The topography of the site and its ownership are dealt with in Wright, chapters 1–4.}}<br />
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In 1531, [[Henry VIII of England|Henry&nbsp;VIII]] acquired the Hospital of St&nbsp;James, which became [[St&nbsp;James's Palace]],<ref>Goring, p. 28.</ref> from [[Eton College]], and in 1536 he took the Manor of Ebury from Westminster Abbey.<ref>Goring, p. 18.</ref> These transfers brought the site of Buckingham Palace back into royal hands for the first time since William the Conqueror had given it away almost 500 years earlier.<ref>{{Cite book |title=The Grosvenor Estate in Mayfair |work=[[Survey of London]] |publisher=London County Council |year=1977 |volume=39 |pages=1–5 |chapter=Chapter 1: The Acquisition of the Estate |access-date=3 February 2009 |chapter-url=http://www.british-history.ac.uk/report.aspx?compid=41820}}</ref><br />
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Various owners leased it from royal landlords, and the [[Freehold (law)|freehold]] was the subject of frenzied speculation during the 17th&nbsp;century. By then, the old village of Eye Cross had long since fallen into decay, and the area was mostly wasteland.<ref>Wright, pp. 76–78.</ref> Needing money, [[James&nbsp;I]] sold off part of the Crown freehold but retained part of the site on which he established a {{convert|4|acre|ha|adj=on}} mulberry garden for the production of silk. (This is at the north-west corner of today's palace.)<ref>Goring, pp. 31, 36.</ref> [[Clement Walker]] in ''Anarchia Anglicana'' (1649) refers to "new-erected sodoms and spintries at the Mulberry Garden at S. James's"; this suggests it may have been a place of debauchery. Eventually, in the late 17th&nbsp;century, the freehold was inherited from the property tycoon Sir&nbsp;[[Hugh Audley]] by the great heiress Mary Davies.{{efn|Audley and Davies were key figures in the development of Ebury Manor and also the Grosvenor Estate (see [[dukes of Westminster]]), which still exists today. They are remembered in the streetnames North Audley Street, [[South Audley Street]], and Davies Street, all in [[Mayfair]].}}<br />
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===First houses on the site===<br />
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====Goring House====<br />
Possibly the first house erected within the site was that of a Sir&nbsp;William Blake, around 1624.<ref>Wright, p. 83.</ref> The next owner was [[George Goring, 1st Earl of Norwich|Lord Goring]], who from 1633 extended Blake's house and developed much of today's garden, then known as Goring Great Garden.<ref>Goring, Chapter V</ref><ref name="Harris, p.21">Harris, p. 21.</ref> He did not, however, obtain the freehold interest in the mulberry garden. Unbeknown to Goring, in 1640 the document "failed to pass the [[Great Seal of the Realm|Great Seal]] before [[Charles I of England|King Charles&nbsp;I]] fled London, which it needed to do for legal execution".<ref>Wright, p. 96.</ref> It was this critical omission that helped the British royal family regain the freehold under [[King George&nbsp;III]].<ref>Goring, p. 62.</ref><br />
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====Arlington House====<br />
The improvident Goring defaulted on his rents;<ref>Goring, p. 58.</ref> [[Henry Bennet, 1st Earl of Arlington]] obtained the mansion and was occupying it, now known as Goring House, when it burned down in 1674.<ref name="Harris, p.21" /> Arlington House rose on the site—the location of the southern wing of today's palace—the next year.<ref name="Harris, p.21" /> In 1698, [[John Sheffield, 1st Duke of Buckingham and Normanby|John Sheffield]], later the first [[Duke of Buckingham and Normanby]], acquired the lease.<ref name="who built">{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-built-the-palace |title=Who built Buckingham Palace? |publisher=Royal Collection Trust |access-date=8 March 2016}}</ref><br />
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====Buckingham House====<br />
[[File:Buckingham Palace engraved by J.Woods after Hablot Browne & R.Garland publ 1837 edited.jpg|thumb|The palace c. 1837, depicting the [[Marble Arch]], which served as the ceremonial entrance to the Palace [[precinct]]s. It was moved to make way for the east wing, built in 1847, which enclosed the quadrangle.]]<br />
The house which forms the architectural core of the palace was built for the first [[John Sheffield, 1st Duke of Buckingham and Normanby|Duke of Buckingham and Normanby]]<!--note - "Normanby" is correct spelling, do not change please --> in 1703 to the design of [[William Winde]]. The style chosen was of a large, three-floored central block with two smaller flanking service wings.<ref>Harris, p. 22.</ref> Buckingham House was eventually sold by Buckingham's illegitimate son, [[Sir Charles Herbert Sheffield, 1st Baronet|Sir Charles Sheffield]], in 1761<ref name="rob14" /> to George&nbsp;III for [[Pound (currency)|£]]21,000.<ref>Mackenzie, p. 12 and Nash, p. 18.</ref>{{efn|The purchase price is given by Wright p. 142 as £28,000.}} Sheffield's [[leasehold]] on the mulberry garden site, the freehold of which was still owned by the royal family, was due to expire in 1774.<ref>Mackenzie, p. 12</ref>and anisa and salma<br />
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===From Queen's House to palace===<br />
{{anchor|Queen's House}}<!-- [[Queen's House (disambiguation)]] links here--><br />
Under the new Crown ownership, the building was originally intended as a private retreat for King George&nbsp;III's wife, [[Queen Charlotte]], and was accordingly known as '''The Queen's House'''. Remodelling of the structure began in 1762.<ref>Harris, p. 24.</ref> In 1775, an Act of Parliament settled the property on Queen Charlotte, in exchange for her rights to [[Somerset House]],<ref name="Old and New">{{Cite book |url=http://www.british-history.ac.uk/report.aspx?compid=45183 |title=Old and New London |publisher=Cassell, Petter & Galpin |year=1878 |volume=4 |pages=61–74}}</ref>{{efn|The tradition persists of foreign ambassadors being formally accredited to "the [[Court of St James's]]", even though it is at Buckingham Palace that they present their credentials and staff to the Monarch upon their appointment.}} and 14 of her 15 children were born there. Some furnishings were transferred from [[Carlton House, London|Carlton House]], and others had been bought in France after the French Revolution<ref>Jones, p. 42.</ref> of 1789. While [[St&nbsp;James's Palace]] remained the official and ceremonial royal residence,<ref name="Old and New" /> the name "Buckingham-palace" was used from at least 1791.<ref>{{Cite book |url=https://books.google.com/books?id=0Zg-AAAAYAAJ |title=The Annual Register |year=1791 |editor-last=Burke |editor-first=Edmund |page=8 |quote=Buckingham-palace was the dwelling house of the king. |access-date=25 September 2016}}</ref><br />
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After his accession to the throne in 1820, [[King George&nbsp;IV]] continued the renovation with the idea in mind of a small, comfortable home. However, in 1826, while the work was in progress, the King decided to modify the house into a palace with the help of his architect [[John Nash (architect)|John Nash]].<ref>Harris, pp. 30–31.</ref> The external façade was designed, keeping in mind the French neo-classical influence preferred by George&nbsp;IV. The cost of the renovations grew dramatically, and by 1829 the extravagance of Nash's designs resulted in his removal as the architect. On the death of George&nbsp;IV in 1830, his younger brother [[King William&nbsp;IV]] hired [[Edward Blore]] to finish the work.<ref>Harris, p. 33.</ref><ref>{{Cite web |url=http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/History.aspx |title=The Royal Residences > Buckingham Palace > History |publisher=www.royal.gov.uk |archive-url=https://web.archive.org/web/20100328161802/http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/History.aspx |archive-date=28 March 2010}}</ref> After the destruction of the [[Palace of Westminster]] by fire in 1834, William considered converting the palace into the new Houses of Parliament.<ref>{{Cite book |title=King William IV |last=[[Philip Ziegler|Ziegler, Philip]] |publisher=Collins |year=1971 |isbn=978-0-00-211934-4 |page=280}}</ref><br />
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==Home of the monarch==<br />
{{multiple image<br />
| footer = The east wing of Buckingham Palace, the public façade, enclosing the courtyard, was a later addition, built between 1847 and 1850; it was remodelled to its present form in 1913 (shown on the right).<br />
| align = right<br />
| image1 = 1910_Buckingham_Palace.png<br />
| width1 = 220<br />
| image2 = Buckingham Palace from side, London, UK - Diliff.jpg<br />
| width2 = 220<br />
}}<br />
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Buckingham Palace finally became the principal royal residence in 1837, on the accession of Queen Victoria,<ref>{{Cite web |url=http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/BuckinghamPalace.aspx |title=The Royal Residences > Buckingham Palace |publisher=www.royal.gov.uk |archive-url=https://web.archive.org/web/20100327220845/http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/BuckinghamPalace.aspx |archive-date=27 March 2010}}</ref> who was the first monarch to reside there; her predecessor William&nbsp;IV had died before its completion.<ref>Hedley, p. 10.</ref> While the [[state room]]s were a riot of gilt and colour, the necessities of the new palace were somewhat less luxurious. For one thing, it was reported the chimneys smoked so much that the fires had to be allowed to die down, and consequently the court shivered in icy magnificence.<ref name="ws249">Woodham-Smith, p. 249.</ref> Ventilation was so bad that the interior smelled, and when it was decided to install gas lamps, there was a serious worry about the build-up of gas on the lower floors. It was also said that staff were lax and lazy and the palace was dirty.<ref name="ws249" /> Following the Queen's marriage in 1840, her husband, [[Albert, Prince Consort|Prince Albert]], concerned himself with a reorganisation of the [[Royal Household|household]] offices and staff, and with addressing the design faults of the palace.<ref name="Rappaport">Rappaport, p. 84.</ref> By the end of 1840, all the problems had been rectified. However, the builders were to return within the decade.<ref name="Rappaport">Rappaport, p. 84.</ref><br />
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By 1847, the couple had found the palace too small for court life and their growing family,<ref>Harris, de Bellaigue & Miller, p. 33.</ref> and consequently the new wing, designed by Edward Blore, was built by [[Thomas Cubitt]],<ref>''Holland & Hannen and Cubitts&nbsp;– The Inception and Development of a Great Building Firm'', published 1920, p. 35.</ref> enclosing the central quadrangle. The large East Front, facing [[The Mall, London|The Mall]], is today the "public face" of Buckingham Palace, and contains the balcony from which the [[British Royal Family|royal family]] acknowledge the crowds on momentous occasions and after the annual [[Trooping the Colour]].<ref>{{Cite web |url=http://www.historyextra.com/article/feature/history-buckingham-palace-balcony-appearance-focal-point-national-celebration |title=Buckingham Palace's balcony: a focal point for national celebration |last=Owens |first=Ed |publisher=Immediate Media/BBC |access-date=12 June 2017}}</ref> The [[ballroom]] wing and a further suite of state rooms were also built in this period, designed by Nash's student [[James Pennethorne|Sir&nbsp;James Pennethorne]].<ref name="Twilight">King, p. 217.</ref><br />
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Before Prince Albert's death, the palace was frequently the scene of musical entertainments,<ref>Hedley, p. 19.</ref> and the most celebrated contemporary musicians entertained at Buckingham Palace. The composer [[Felix Mendelssohn]] is known to have played there on three occasions.<ref>Healey, pp. 137–138.</ref> [[Johann Strauss&nbsp;II]] and his orchestra played there when in England.<ref>Healey, p. 122.</ref> Under Victoria, Buckingham Palace was frequently the scene of lavish costume balls, in addition to the usual royal ceremonies, investitures and presentations.<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-has-lived-at-the-palace |title=Who has lived at Buckingham Palace? |publisher=Royal Collection Trust |url-status=live |archive-url=https://web.archive.org/web/20170623215833/https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-has-lived-at-the-palace |archive-date=23 June 2017 |access-date=12 June 2017}}</ref><br />
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Widowed in 1861, the grief-stricken Queen withdrew from public life and left Buckingham Palace to live at [[Windsor Castle]], [[Balmoral Castle]] and [[Osborne House]]. For many years the palace was seldom used, even neglected. In 1864, a note was found pinned to the fence of Buckingham Palace, saying: "These commanding premises to be let or sold, in consequence of the late occupant's declining business."<ref name="Gardiner2006">{{Cite book |url=https://books.google.com/books?id=Dipe9nVHV3cC&pg=PA142 |title=The Victorians: An Age in Retrospect |last=John Gardiner |publisher=A&C Black |year=2006 |isbn=978-1-85285-560-4 |page=142}}</ref> Eventually, public opinion persuaded the Queen to return to London, though even then she preferred to live elsewhere whenever possible. Court functions were still held at Windsor Castle, presided over by the sombre Queen habitually dressed in mourning black, while Buckingham Palace remained shuttered for most of the year.<ref name="rob9">Robinson, p. 9.</ref><br />
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===Interior===<br />
[[File:Plan of Buckingham palace.gif|thumb|left|''[[Piano nobile]]'' of Buckingham Palace. The areas defined by shaded walls represent lower minor wings. {{paragraph break}}'''Note''': This is an unscaled sketch plan for reference only. Proportions of some rooms may slightly differ in reality.]]<br />
The front of the palace measures {{convert|108|m|ft|order=flip|round=5}} across, by {{convert|120|m|ft|abbr=on|order=flip}} deep, by {{convert|24|m|ft|abbr=on|order=flip|-1}} high and contains over {{convert|77000|m2|sqft|abbr=on|order=flip}} of floorspace.<ref>{{Cite web |url=https://www.royal.uk/royal-residences-buckingham-palace |title=Royal Residences: Buckingham Palace |publisher=British Monarchy website |access-date=28 July 2019}}</ref> There are 775 rooms, including 188 staff bedrooms, 92 offices, 78 bathrooms, 52 principal bedrooms, and 19 state rooms. It also has a [[post office]], cinema, swimming pool, doctor's surgery,<ref name="fact">{{Cite web |url=http://www.royal.gov.uk/LatestNewsandDiary/Factfiles/40factsaboutBuckinghamPalace.aspx |title=40 facts about Buckingham Palace |publisher=British Monarchy website |archive-url=https://web.archive.org/web/20111104182150/http://www.royal.gov.uk/latestnewsanddiary/factfiles/40factsaboutbuckinghampalace.aspx |archive-date=4 November 2011}}</ref> and jeweller's workshop.<ref>{{Cite news |url=https://www.timesoftunbridgewells.co.uk/queen-honours-jeweller-with-top-personal-award/ |title=Queen honours jeweller with top personal award |date=6 January 2016 |work=Times of Tunbridge Wells |access-date=2 June 2016 |url-status=dead |archive-url=https://web.archive.org/web/20160701021803/https://www.timesoftunbridgewells.co.uk/queen-honours-jeweller-with-top-personal-award/ |archive-date=1 July 2016}}</ref><br />
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The principal rooms are contained on the ''[[piano nobile]]'' behind the west-facing garden façade at the rear of the palace. The centre of this ornate suite of state rooms is the Music Room, its large bow the dominant feature of the façade. Flanking the Music Room are the Blue and the White Drawing Rooms. At the centre of the suite, serving as a corridor to link the state rooms, is the Picture Gallery, which is top-lit and {{convert|55|yd|m}} long.<ref name="Harris, p.41">Harris, p. 41.</ref> The Gallery is hung with numerous works including some by [[Rembrandt]], [[Anthony van Dyck|van Dyck]], [[Peter Paul Rubens|Rubens]] and [[Johannes Vermeer|Vermeer]];<ref>Harris, pp. 78–79 and Healey, pp. 387–388.</ref> other rooms leading from the Picture Gallery are the [[Throne Room]] and the Green Drawing Room. The Green Drawing Room serves as a huge anteroom to the Throne Room, and is part of the ceremonial route to the throne from the Guard Room at the top of the Grand Staircase.<ref name="Harris, p.41" /> The Guard Room contains white marble statues of Queen Victoria and Prince Albert, in Roman costume, set in a [[Tribune (architecture)|tribune]] lined with tapestries. These very formal rooms are used only for ceremonial and official entertaining but are open to the public every summer.<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/the-state-rooms-buckingham-palace |title=Visit the State Rooms, Buckingham Palace |publisher=Royal Collection Trust |access-date=7 February 2016}}</ref><br />
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Directly underneath the [[State room|State Apartments]] are the less grand semi-state apartments. Opening from the Marble Hall, these rooms are used for less formal entertaining, such as luncheon parties and private [[Head of state|audiences]]. Some of the rooms are named and decorated for particular visitors, such as the ''1844 Room'', decorated in that year for the state visit of [[Tsar]] [[Nicholas&nbsp;I of Russia]], and the ''1855 Room'', in honour of the visit of Emperor [[Napoleon&nbsp;III of France]].<ref>Harris, p. 81.</ref> At the centre of this suite is the Bow Room, through which thousands of guests pass annually to the Queen's [[garden parties]].<ref>Harris, p. 40.</ref> The Queen and Prince Philip use a smaller suite of rooms in the north wing.<ref name="Packard1982">{{Cite book |url=https://books.google.com/books?id=dfk_5uIFtqIC |title=The Queen and Her Court: A Guide to the British Monarchy Today |last=Jerrold M. Packard |publisher=Simon & Schuster |year=1982 |isbn=978-0-684-17648-2 |page=48}}</ref><br />
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[[File:Duke of Edinburgh 9 Allan Warren.jpg|thumb|upright|The Duke of Edinburgh in the Chinese Luncheon Room]]<br />
Between 1847 and 1850, when Blore was building the new east wing, the [[Brighton Pavilion]] was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by [[Robert Jones (designer)|Robert Jones]] and sculpted by [[Richard Westmacott]].<ref name="Harris, de Bellaigue & Miller, p. 87.">Harris, de Bellaigue & Miller, p. 87.</ref> It was formerly in the Music Room at the Brighton Pavilion.<ref name="Harris, de Bellaigue & Miller, p. 87." /> The ornate clock, known as the [[Qilin|Kylin Clock]], was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by [[Benjamin Vulliamy]] circa 1820.<ref>Harris, de Bellaigue & Miller, p. 135.</ref> The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding [[Mandarin (bureaucrat)|mandarins]] in [[Niche (architecture)|niches]] and fearsome winged [[Chinese dragon|dragons]], designed by Robert Jones.<ref>Healey, pp. 159–160.</ref><br />
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At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer [[Sir&nbsp;Charles Allom]], created a more "binding"<ref>Harris, de Bellaigue & Miller, p. 93.</ref> Chinese theme in the late 1920s, although the [[lacquer]] doors were brought from Brighton in 1873. Running the length of the ''piano nobile'' of the east wing is the Great Gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle.<ref>Harris, de Bellaigue & Miller, p. 91.</ref> It has mirrored doors and mirrored cross walls reflecting [[porcelain]] pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room in between.<ref name="HarrisBellaigue1968">{{Cite book |url=https://books.google.com/books?id=pscQAQAAMAAJ |title=Buckingham Palace and its Treasures |last=John Harris |last2=Geoffrey De Bellaigue |last3=Oliver Millar |publisher=Viking Press |year=1968 |page=90}}</ref><br />
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The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured [[scagliola]] and blue and pink [[Lapis lazuli|lapis]], on the advice of Sir&nbsp;Charles Long. [[King Edward&nbsp;VII]] oversaw a partial redecoration in a [[Belle Époque|Belle époque]] cream and gold colour scheme.<ref name="Jones43">Jones, p. 43.</ref><br />
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When paying a state visit to Britain, foreign [[heads of state]] are usually entertained by the Queen at Buckingham Palace. They are allocated an extensive suite of rooms known as the Belgian Suite, situated at the foot of the Minister's Staircase, on the ground floor of the north-facing Garden Wing. Narrow corridors link the rooms of the suite, one of them is given extra height and perspective by [[saucer dome]]s designed by Nash in the style of Soane.<ref name="harrisp82">Harris, p. 82.</ref> A second corridor in the suite has Gothic-influenced [[Vault (architecture)|cross-over vaulting]].<ref name="harrisp82" /> The Belgian Rooms themselves were decorated in their present style and named after King [[Leopold I of Belgium]], uncle of Queen Victoria and Prince Albert. In 1936, the suite briefly became the private apartments of the palace when [[King Edward&nbsp;VIII]] occupied them.<ref name="fact" /><br />
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===Court ceremonies===<br />
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====Investitures====<br />
[[Investiture]]s, which include the conferring of [[knight]]hoods by dubbing with a sword, and other awards take place in the palace's Ballroom, built in 1854. At {{convert|36.6|m|ft|abbr=on|order=flip}} long, {{convert|18|m|ft|abbr=on|order=flip|-1}} wide and {{convert|13.5|m|ft|abbr=on|order=flip|round=5}} high,<ref name="fact" /> it is the largest room in the palace. It has replaced the throne room in importance and use. During investitures, the Queen stands on the throne dais beneath a giant, domed velvet canopy, known as a [[shamiana]] or a [[baldachin]], that was used at the [[Delhi Durbar]] in 1911.<ref>Harris, p. 72.</ref> A military band plays in the musicians' gallery as award recipients approach the Queen and receive their [[honour]]s, watched by their families and friends.<ref name="Healey, p.364">Healey, p. 364.</ref><br />
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====State banquets====<br />
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State [[banquet]]s also take place in the Ballroom; these formal dinners are held on the first evening of a state visit by a foreign head of state.<ref name="Healey, p.364" /> On these occasions, for up to 170 guests in formal "white tie and decorations", including tiaras, the dining table is laid with the Grand Service, a collection of silver-gilt plate made in 1811 for the Prince of Wales, later George&nbsp;IV.<ref>{{Cite news |url=https://www.telegraph.co.uk/news/uknews/theroyalfamily/2457467/Royal-seal-of-approval-for-state-banquet-exhibition.html |title=Royal seal of approval for state banquet exhibition |date=25 July 2008 |work=The Telegraph |access-date=31 January 2016 |location=London}}</ref> The largest and most formal reception at Buckingham Palace takes place every November when the Queen entertains members of the [[diplomatic corps]].<ref>Healey, p. 362.</ref> On this grand occasion, all the state rooms are in use, as the royal family proceed through them,<ref>Hedley, p. 16.</ref> beginning at the great north doors of the Picture Gallery. As Nash had envisaged, all the large, double-mirrored doors stand open, reflecting the numerous crystal chandeliers and sconces, creating a deliberate optical illusion of space and light.<ref>Robinson, p. 18.</ref><br />
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====Other ceremonies and functions====<br />
Smaller ceremonies such as the reception of new ambassadors take place in the "1844 Room". Here too, the Queen holds small lunch parties, and often meetings of the [[Her Majesty's Most Honourable Privy Council|Privy Council]]. Larger lunch parties often take place in the curved and domed Music Room or the State Dining Room.<ref name="Healey, pp. 363–365">Healey, pp. 363–365.</ref> Since the bombing of the palace chapel in World War&nbsp;II, royal christenings have sometimes taken place in the Music Room. The Queen's first three children were all baptised there.<ref>Robinson, p. 49.</ref> On all formal occasions, the ceremonies are attended by the [[Yeomen of the Guard]], in their historic uniforms, and other officers of the court such as the [[Lord Chamberlain]].<ref name="Healey, pp. 363–365" /><br />
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===Former ceremonial at the Palace===<br />
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====Court dress====<br />
[[File:Obama and Duke Duchess of Cambridge.jpg|thumb|right|The 1844 Room, a sitting room of the Belgium Suite, also serves as an audience room and is often used for personal investitures.]]<br />
[[File:President Nixon visiting Buckingham Palace with Britain's royal family - NARA - 194606.tif|thumb|President Nixon with members of the royal family in the ground floor Marble Hall]]<br />
Formerly, men not wearing [[military uniform]] wore knee [[breeches]] of 18th-century design. Women's evening dress included trains and [[tiara]]s or feathers in their hair (often both). The dress code governing formal [[Court uniform and dress in the United Kingdom|court uniform and dress]] has progressively relaxed. After the [[First World War]], when [[Mary of Teck|Queen Mary]] wished to follow fashion by raising her skirts a few inches from the ground, she requested a [[lady-in-waiting]] to shorten her own skirt first to gauge the King's reaction. [[King George&nbsp;V]] was horrified, so the Queen kept her hemline unfashionably low.<ref>Healey, p. 233, quoting ''The Memoirs of Mabell, Countess of Airlie'', edited and arranged by Jennifer Ellis, London: Hutchinson, 1962.</ref> Following his accession in 1936, [[King George&nbsp;VI]] and [[Queen Elizabeth The Queen Mother|Queen Elizabeth]] allowed the hemline of daytime skirts to rise. Today, there is no official dress code.<ref name="fact" /> Most men invited to Buckingham Palace in the daytime choose to wear [[service uniform]] or [[lounge suit]]s;<ref name="fact" /> a minority wear [[morning coat]]s, and in the evening, depending on the formality of the occasion, [[black tie]] or [[white tie]].<ref name="Seldon1999">{{Cite book |url=https://books.google.com/books?id=jj2AAAAAIAAJ |title=10 Downing Street: The Illustrated History |last=Anthony Seldon |publisher=Harper Collins Illustrated |year=1999 |isbn=978-0-00-414073-5 |page=202}}</ref><br />
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====Court presentation of débutantes====<br />
[[Débutante]]s were aristocratic young ladies making their first entrée into society through a presentation to the monarch at court. These occasions, known as "coming out", took place at the palace from the reign of Edward&nbsp;VII. The débutantes entered—wearing full court dress, with three ostrich feathers in their hair—curtsied, performed a backwards walk and a further curtsey, while manoeuvring a dress train of prescribed length. The ceremony, known as an evening court, corresponded to the "court [[drawing room]]s" of Victoria's reign.<ref>Peacocke, pp. 178–179, 244–247.</ref> After World War&nbsp;II, the ceremony was replaced by less formal afternoon receptions, usually omitting curtsies and court dress.<ref>Peacocke, pp. 264–265.</ref> In 1958, the Queen abolished the presentation parties for débutantes,<ref>{{Cite web |url=http://www.royal.gov.uk/output/page5299.asp |title=Mailbox |website=Royal Insight Magazine |archive-url=https://web.archive.org/web/20080123231607/http://www.royal.gov.uk/output/page5299.asp |archive-date=23 January 2008 |access-date=23 January 2008}}</ref> replacing them with [[Garden at Buckingham Palace#Garden parties|Garden Parties]],{{efn|[[Princess Margaret]] is reputed to have remarked of the débutante presentations: "We had to put a stop to it, every tart in London was getting in."<ref>{{Cite book |title=You look awfully like the Queen |last=Blaikie |first=Thomas |publisher=Harper Collins |year=2002 |isbn=978-0-00-714874-5 |location=London}}</ref>}} for up to 8,000 invitees in the Garden. They are the largest functions of the year.<ref>{{Cite web |url=http://www.royal.gov.uk/RoyalEventsandCeremonies/GardenParties/TheGuests.aspx |title=Garden parties: The guests |last=Royal Household |website=Official Website of the British Monarchy |archive-url=https://web.archive.org/web/20130117060104/http://www.royal.gov.uk/RoyalEventsandCeremonies/GardenParties/TheGuests.aspx |archive-date=17 January 2013}}</ref><br />
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====Security breaches====<br />
[[The boy Jones]] was an intruder who gained entry to the palace on three occasions between 1838 and 1841.<ref>[[Punch (magazine)|Punch]], [http://www.gutenberg.org/dirs/1/7/2/1/17216/17216.txt Volume 1: July–December 1841].</ref><ref name="dickens">[[Charles Dickens|Dickens, Charles]] (5 July 1885) "[http://john-adcock.blogspot.com/2008/10/boy-jones.html The boy Jones]", ''[[All the Year Round]]'', pp. 234–37.</ref> At least 12 people have managed to gain unauthorised entry into the palace or its grounds since 1914,<ref>{{Cite news |url=https://www.washingtonpost.com/news/morning-mix/wp/2014/09/24/remember-the-visitor-to-the-queens-bedroom-when-it-comes-to-intruders-buckingham-palace-beats-the-white-house-any-day/ |title=Remember the guy who got into the Queen’s bedroom? |last=Tobey, Pam |date=24 September 2014 |work=[[The Washington Post]] |access-date=21 June 2016}}</ref> including [[Michael Fagan incident|Michael Fagan]], who broke into the palace twice in 1982 and entered the Queen's bedroom on the second occasion. At the time, news media reported that he had a long conversation with the Queen while she waited for security officers to arrive, but in a 2012 interview with ''[[The Independent]]'', Fagan said the Queen ran out of the room, and no conversation took place.<ref name="independent">{{Cite news |url=https://www.independent.co.uk/news/people/profiles/michael-fagan-her-nightie-was-one-of-those-liberty-prints-down-to-her-knees-7179547.html |title=Michael Fagan: 'Her nightie was one of those Liberty prints, down to her knees' |last=Dugan |first=Emily |date=19 February 2012 |work=The Independent on Sunday |access-date=4 January 2014}}</ref> It was only in 2007 that trespassing on the palace grounds became a specific criminal offence.<ref>{{Cite news |url=http://news.bbc.co.uk/1/hi/uk/6492003.stm |title=Trespass law targets royal sites |date=24 March 2007 |work=[[BBC News]] |access-date=27 February 2016}}</ref>{{efn|Under section 128(1) of the [[Serious Organised Crime and Police Act 2005]], "A person commits an offence if he enters, or is on, any designated site in England and Wales or Northern Ireland as a trespasser".<ref>{{Cite web |url=http://www.legislation.gov.uk/ukpga/2005/15/part/4/crossheading/trespass-on-designated-site |title=Serious Organised Crime and Police Act 2005 |date=7 January 2005 |publisher=Legislation.gov.uk |access-date=11 June 2017}}</ref> Buckingham Palace is a designated site under the Serious Organised Crime and Police Act 2005 (Designated Sites under Section 128) Order 2007.<ref>{{Cite web |url=http://www.legislation.gov.uk/uksi/2007/930/made |title=The Serious Organised Crime and Police Act 2005 (Designated Sites under Section 128) Order 2007 |date=1 June 2007 |publisher=Legislation.gov.uk |access-date=11 June 2017}}</ref>}}<br />
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===Garden and surroundings===<br />
[[File:Buckingham Palace west facade.jpg|thumb|The west façade of Buckingham Palace, faced in [[Bath stone]], seen from the [[Buckingham Palace Garden|palace garden]]]]<br />
{{details|Garden at Buckingham Palace}}<br />
At the rear of the palace is the large and park-like garden, which together with its lake is the largest private garden in London.<ref>{{Cite web |url=http://www.museumoflondon.org.uk/English/Collections/OnlineResources/X20L/Themes/1381/1092/ |title=''Buckingham Palace'' |url-status=dead |archive-url=https://web.archive.org/web/20080502231028/http://www.museumoflondon.org.uk/English/Collections/OnlineResources/X20L/Themes/1381/1092/ |archive-date=2 May 2008 |access-date=3 February 2009}} ([[Museum of London]].) Retrieved 2 May 2009.</ref> There, the Queen hosts her annual garden parties each summer and also holds large functions to celebrate royal milestones, such as jubilees. It covers {{convert|40|acres|abbr=on}} and includes a helicopter landing area, a lake, and a tennis court.<ref name="fact" /><br />
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Adjacent to the palace is the [[Royal Mews]], also designed by Nash, where the royal carriages, including the [[Gold State Coach]], are housed. This [[rococo]] gilt coach, designed by [[Sir&nbsp;William Chambers]] in 1760, has painted panels by [[Giovanni Battista Cipriani|G. B. Cipriani]]. It was first used for the State Opening of Parliament by George&nbsp;III in 1762 and has been used by the monarch for every coronation since George&nbsp;IV. It was last used for the [[Golden Jubilee of Elizabeth&nbsp;II]].<ref>{{Royal Collection|5000048|Gold State Coach}}</ref> Also housed in the mews are the coach horses used at royal ceremonial processions.<ref>{{Cite web |url=http://www.royal.gov.uk/TheRoyalResidences/TheRoyalMews/TheRoyalMews.aspx |title=The Royal Residences > The Royal Mews |publisher=www.royal.gov.uk |archive-url=https://web.archive.org/web/20090710044631/http://www.royal.gov.uk/TheRoyalResidences/TheRoyalMews/TheRoyalMews.aspx |archive-date=10 July 2009}}</ref><br />
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[[The Mall, London|The Mall]], a ceremonial approach route to the palace, was designed by Sir&nbsp;[[Aston Webb]] and completed in 1911 as part of a grand memorial to [[Queen Victoria]]. It extends from [[Admiralty Arch]], across [[St&nbsp;James's Park]] to the [[Victoria Memorial (London)|Victoria Memorial]]. This route is used by the cavalcades and motorcades of visiting heads of state, and by the royal family on state occasions—such as the annual [[Trooping the Colour]].<ref>{{Cite book |title=London |last=Nicholson, Louise |publisher=Frances Lincoln |year=1998 |isbn=978-0-7112-1187-2 |location=London |page=56 |author-link=Louise Nicholson}}</ref><br />
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==Modern history==<br />
[[File:Barack Obama Michelle Obama Queen Elizabeth II Buckingham Palace London.jpg|thumb|Visiting heads of state are received by the Queen at either Buckingham Palace or Windsor Castle. Here, United States President [[Barack Obama]] and [[Michelle Obama]] are greeted in 2009 in the first-floor audience chamber in the private apartments in the north wing.]]<br />
In 1901, the accession of Edward&nbsp;VII saw new life breathed into the palace. The King and his wife, [[Queen Alexandra]], had always been at the forefront of London high society, and their friends, known as "the [[Marlborough House]] Set", were considered to be the most eminent and fashionable of the age. Buckingham Palace—the Ballroom, Grand Entrance, Marble Hall, Grand Staircase, vestibules and galleries redecorated in the [[Belle Époque]] cream and gold colour scheme they retain today—once again became a setting for entertaining on a majestic scale but leaving some to feel King Edward's heavy redecorations were at odds with Nash's original work.<ref>Robinson (Page 9) asserts that the decorations, including plaster swags and other decorative motifs, are "finicky" and "at odds with Nash's original detailing".</ref><br />
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The last major building work took place during the reign of King George&nbsp;V when, in 1913, Sir&nbsp;Aston Webb redesigned Blore's 1850 East Front to resemble in part [[Giacomo Leoni]]'s [[Lyme Park]] in Cheshire. This new, refaced principal façade (of [[Portland stone]]) was designed to be the backdrop to the [[Victoria Memorial (London)|Victoria Memorial]], a large memorial statue of Queen Victoria, placed outside the main gates.<ref>Harris, p. 34.</ref> George&nbsp;V, who had succeeded Edward&nbsp;VII in 1910, had a more serious personality than his father; greater emphasis was now placed on official entertaining and royal duties than on lavish parties.<ref>Healey, p. 185.</ref> He arranged a series of [[Royal Command Performance|command performances]] featuring [[jazz]] musicians such as the [[Original Dixieland Jazz Band]] (1919; the first jazz performance for a head of state), [[Sidney Bechet]], and [[Louis Armstrong]] (1932), which earned the palace a nomination in 2009 for a [[Brecon Jazz Festival#(Kind of) Blue Plaque|(Kind of) Blue Plaque]] by the [[Brecon Jazz Festival]] as one of the venues making the greatest contribution to jazz music in the United Kingdom.<ref>{{Cite news |url=http://www.thisislondon.co.uk/standard/article-23727267-buckingham-palace-hits-right-note-with-jazz-fans.do |title=Buckingham Palace hits right note with jazz fans |date=3 August 2009 |work=London Evening Standard |access-date=11 August 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100426000757/http://www.thisislondon.co.uk/standard/article-23727267-buckingham-palace-hits-right-note-with-jazz-fans.do |archive-date=26 April 2010}}</ref><ref>{{Cite news |url=https://www.theguardian.com/music/2009/aug/03/buckingham-palace-jazz-plaque-brecon |title=By royal approval: Buckingham Palace's place in jazz history |last=Stephen Bates |date=3 August 2009 |work=[[The Guardian]] |access-date=11 August 2010 |location=London}}</ref> King George&nbsp;V's wife, Queen Mary, was a [[connoisseur]] of the arts, and took a keen interest in the Royal Collection of furniture and art, both restoring and adding to it. Queen Mary also had many new fixtures and fittings installed, such as the pair of marble [[Empire style]] chimneypieces by Benjamin Vulliamy, dating from 1810, which the Queen had installed in the ground floor Bow Room, the huge low room at the centre of the garden façade. Queen Mary was also responsible for the decoration of the Blue Drawing Room.<ref>Healey pp. 221–222.</ref> This room, {{convert|69|ft|m|abbr=off}} long, previously known as the South Drawing Room, has a ceiling designed by Nash, coffered with huge gilt console brackets.<ref>Harris, p. 63.</ref><br />
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[[File:Victoria Memorial from within Buckingham Palace.jpg|thumb|Sculptor Sir [[Thomas Brock]] created the [[Victoria Memorial (London)|Victoria Memorial]] in 1911; it was erected in front of the main gates at the palace on a surround constructed by architect Sir Aston Webb.]]<br />
During World War&nbsp;I, the palace, then the home of King George&nbsp;V and Queen Mary, escaped unscathed. Its more valuable contents were evacuated to Windsor, but the royal family remained in residence. The King imposed [[Rationing in the United Kingdom|rationing]] at the palace, much to the dismay of his guests and household.<ref>{{Cite book |title=King George V |last=Rose |first=Kenneth |publisher=Weidenfeld and Nicolson |year=1983 |isbn=978-0-297-78245-2 |location=London |pages=176–177 |author-link=Kenneth Rose}}</ref> To the King's later regret, [[David Lloyd George]] persuaded him to go further and ostentatiously lock the wine cellars and refrain from alcohol, to set a good example to the supposedly inebriated working class. The workers continued to imbibe, and the King was left unhappy at his enforced abstinence.<ref>Rose, pp. 178–179.</ref> In 1938, the north-west pavilion, designed by Nash as a conservatory, was converted into a swimming pool.<ref>Allison and Riddell, p. 69.</ref><br />
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During World War&nbsp;II, the palace was bombed nine times;<ref>{{Cite web |url=https://www.royalcollection.org.uk/exhibitions/letter-from-queen-elizabeth-to-queen-mary-describing-the-bombing-of-buckingham-palace-13 |title=Letter from Queen Elizabeth to Queen Mary describing the bombing of Buckingham Palace, 13 September 1940 |publisher=Royal Collection Trust |access-date=31 March 2016}}</ref> the most serious and publicised incident destroyed the palace chapel in 1940. This event was shown in cinemas throughout the UK to show the common suffering of rich and poor. One bomb fell in the palace quadrangle while King George&nbsp;VI and Queen Elizabeth were in the palace, and many windows were blown in and the chapel destroyed.<ref>{{Cite book |title=Royal Feud |last=Thornton |first=Michael |publisher=M. Joseph |year=1984 |page=216}}</ref> War-time coverage of such incidents was severely restricted, however. The King and Queen were filmed inspecting their bombed home, the smiling Queen, as always, immaculately dressed in a hat and matching coat seemingly unbothered by the damage around her. It was at this time the Queen famously declared: "I'm glad we have been bombed. Now I can look the [[East End]] in the face." The royal family were seen as sharing their subjects' hardship, as ''[[The Sunday Graphic]]'' reported:<br />
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{{quotation|By the Editor: The King and Queen have endured the ordeal which has come to their subjects. For the second time a German bomber has tried to bring death and destruction to the home of Their Majesties&nbsp;... When this war is over the common danger which King George and Queen Elizabeth have shared with their people will be a cherished memory and an inspiration through the years.<ref>''[[The Sunday Graphic]]'', 18 September 1939, p. 1.</ref>}}<br />
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On 15 September 1940, known as the [[Battle of Britain Day]], an RAF pilot, [[Ray Holmes]] of [[No. 504 Squadron RAF]] rammed a German [[Dornier Do 17]] bomber he believed was going to bomb the Palace. Holmes had run out of ammunition and made the quick decision to ram it. Holmes bailed out and the aircraft crashed into the forecourt of [[London Victoria station]].<ref>Price, Alfred. ''The Battle of Britain Day'', Greenhill Books, London, 1990, pp. 49–50 and [[Stephen Bungay]], ''The Most Dangerous Enemy: A History of the Battle of Britain''. Aurum Press, London, 2000, p. 325.</ref> The bomber's engine was later exhibited at the [[Imperial War Museum]] in London. The British pilot became a [[Queen's Messenger|King's Messenger]] after the war and died at the age of 90 in 2005.<ref>{{Cite news |url=http://news.bbc.co.uk/1/hi/england/leicestershire/4398484.stm |title=Pilot who 'saved Palace' honoured |date=2 November 2005 |work=BBC News |access-date=18 March 2009}}</ref><br />
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On [[Victory in Europe Day|VE Day]]—8 May 1945—the palace was the centre of British celebrations. The King, the Queen, Princess Elizabeth (the future Queen), and [[Princess Margaret, Countess of Snowdon|Princess Margaret]] appeared on the balcony, with the palace's blacked-out windows behind them, to cheers from a vast crowd in [[The Mall, London|The Mall]].<ref>''[http://news.bbc.co.uk/onthisday/hi/dates/stories/may/8/newsid_3580000/3580163.stm 1945: Rejoicing at end of war in Europe]'' (BBC ''On this day''.) Retrieved 3 February 2009.</ref> The damaged Palace was carefully restored after the war by [[Mowlem|John Mowlem & Co.]]<ref>{{Cite news |url=https://www.telegraph.co.uk/news/obituaries/1351908/Sir-Edgar-Beck.html |title=Sir Edgar Beck |date=9 August 2000 |work=The Telegraph |access-date=5 June 2012 |location=London}}</ref> It was designated a Grade I [[listed building]] in 1970.<ref name="NHLE">{{National Heritage List for England| num=1239087 |desc=Buckingham Palace |grade=I |accessdate=18 November 2016}}</ref><br />
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===21st century: Royal use and public access===<br />
[[File:Entrance of Queen's Gallery, Buckingham Palace (cropped).jpg|left|thumb|Entrance of the Queen's Gallery]]<br />
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Every year, some 50,000 invited guests are entertained at [[garden parties]], receptions, audiences, and banquets. [[Garden at Buckingham Palace#Garden parties|Three garden parties]] are held in the summer, usually in July.<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/about |title=About Buckingham Palace |date=8 March 2016 |publisher=Royal Collection Trust |url-status=dead |archive-url=https://web.archive.org/web/20151002102536/https://www.royalcollection.org.uk/visit/buckinghampalace/about |archive-date=2 October 2015 |access-date=8 March 2016}}</ref> The forecourt of Buckingham Palace is used for the [[Changing the Queen's Life Guard|Changing of the Guard]], a major ceremony and tourist attraction (daily from April to July; every other day in other months).<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/what-to-see-and-do/changing-the-guard |title=Changing the Guard |publisher=Royal Collection Trust |access-date=8 March 2016}}</ref><br />
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The palace, like Windsor Castle, is owned by the reigning monarch in right of [[the Crown]]. It is not the monarch's personal property, unlike [[Sandringham House]] and [[Balmoral Castle]].<ref>{{Cite Hansard |jurisdiction=United Kingdom |house=House of Commons |title=Royal Property |url=http://hansard.millbanksystems.com/written_answers/1995/jan/16/royal-property#S6CV0252P0_19950116_CWA_187 |date=16 January 1995 |volume=252 |column=301W }}</ref> Many of the contents of Buckingham Palace, Windsor Castle, [[Kensington Palace]], and St&nbsp;James's Palace are part of the Royal Collection, held in trust by the Sovereign; they can, on occasion, be viewed by the public at the [[Queen's Gallery]], near the Royal Mews. Unlike the palace and the castle, the purpose-built gallery is open continually and displays a changing selection of items from the collection.<ref>{{Cite web |url=https://www.royalcollection.org.uk/collection/about |title=About the Royal Collection |publisher=[[Royal Collection Trust]] |access-date=8 March 2016}}</ref> It occupies the site of the chapel destroyed by an [[airstrike|air raid]] in World War&nbsp;II.<ref name="who built" /> The palace's [[state room]]s have been open to the public during August and September and on some dates throughout the year since 1993. The money raised in entry fees was originally put towards the rebuilding of Windsor Castle after the [[1992 Windsor Castle fire|1992 fire]] devastated many of its state rooms.<ref>{{Cite news |url=http://news.bbc.co.uk/1/hi/special_report/31069.stm |title=Windsor Castle&nbsp;– five years from disaster to triumph |date=17 November 1997 |access-date=8 March 2016 |publisher=BBC}}</ref> In the year to 31 March 2017, 580,000 people visited the palace, and 154,000 visited the gallery.<ref>{{Cite web |url=https://beta.companieshouse.gov.uk/company/02778486/filing-history |title=Full accounts made up to 31 March 2017 |last=Royal Collection Enterprises Limited |date=28 September 2017 |publisher=Companies House |page=3 |access-date=6 February 2018}}</ref><br />
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[[Her Majesty's Government]] is responsible for maintaining the palace in exchange for the profits made by the [[Crown Estate]].<ref>{{Cite web |url=http://www.hm-treasury.gov.uk/leg_sovereign_grant_faq.htm |title=Sovereign Grant Act: frequently asked questions relating to the Act and on general issues |last=HM Treasury |publisher=The National Archives |url-status=dead |archive-url=http://webarchive.nationalarchives.gov.uk/20130129110402/http:/www.hm-treasury.gov.uk/leg_sovereign_grant_faq.htm |archive-date=29 January 2013 |access-date=22 May 2016}}</ref> In November 2015, the State Dining Room was closed for six months because its ceiling had become potentially dangerous.<ref>{{Cite news |url=https://www.theguardian.com/uk-news/2015/nov/30/buckingham-palace-dining-room-closed-ceiling-safety |title=Buckingham Palace dining room closed over ceiling safety concerns |date=30 November 2015 |work=The Guardian |access-date=28 May 2018 |agency=Press Association}}</ref> A 10-year schedule of maintenance work, including new plumbing, wiring, boilers, and radiators, and the installation of [[solar panels]] on the roof, has been estimated to cost £369&nbsp;million and was approved by the [[Prime Minister of the United Kingdom|prime minister]] in November 2016. It will be funded by a temporary increase in the [[Sovereign Grant]] paid from the income of the Crown Estate and is intended to extend the building's working life by at least 50 years.<ref>{{Cite news |url=https://www.telegraph.co.uk/news/2016/11/18/buckingham-palace-to-get-369m-facelift-over-10-years/ |title=Queen to remain in residence as Buckingham Palace gets £369m taxpayer-funded facelift to avert 'catastrophic building failure' |last=Gordon Rayner |date=18 November 2016 |work=The Telegraph |access-date=18 November 2016}}</ref><ref>{{Cite news |url=https://www.bbc.co.uk/news/uk-38025513 |title=Buckingham Palace to get £369m refurbishment |date=18 November 2016 |work=BBC News |access-date=18 November 2016}}</ref> In March 2017, the [[House of Commons of the United Kingdom|House of Commons]] backed funding for the project by 464 votes to 56.<ref>{{Cite news |url=https://www.bbc.co.uk/news/uk-politics-39280770 |title=Buckingham Palace repairs funding approved by MPs |date=15 March 2017 |work=BBC News}}</ref><br />
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Buckingham Palace is a symbol and home of the British monarchy, an art gallery, and a tourist attraction. Behind the gilded railings and gates that were completed by the [[Bromsgrove Guild]] in 1911<ref name="rob9" /> and Webb's famous façade, which has been described in a book published by the [[Royal Collection Trust]] as looking "like everybody's idea of a palace",<ref name="rob9" /> is not only a weekday home of [[Queen Elizabeth II]] and [[Prince Philip]] but also the London residence of the [[Prince Andrew, Duke of York|Duke of York]] and the [[Prince Edward, Earl of Wessex|Earl]] and [[Sophie, Countess of Wessex|Countess of Wessex]]. The palace also houses [[Royal Households of the United Kingdom|their offices]], as well as those of the [[Prince Harry, Duke of Sussex|Duke]] and [[Meghan, Duchess of Sussex|Duchess]] of Sussex, the [[Anne, Princess Royal|Princess Royal]] and [[Princess Alexandra, The Honourable Lady Ogilvy|Princess Alexandra]], and is the workplace of more than 800 people.<ref name="fact" /><ref>{{Cite magazine |last=Hill |first=Erin |date=14 March 2019 |title=Meghan Markle and Prince Harry Have Split Royal Households from Kate Middleton and Prince William |url=https://people.com/royals/meghan-markle-prince-harry-split-households-kate-middleton-prince-william/ |magazine=People |access-date=14 March 2019}}</ref><br />
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==See also==<br />
{{Portal|London||Architecture}}<br />
* [[Flags at Buckingham Palace]]<br />
* [[List of British royal residences]]<br />
* [[Queen's Guard]]<br />
<br />
==Notes==<br />
{{Noteslist}}<br />
<br />
==References==<br />
{{Reflist}}<br />
<br />
==Bibliography==<br />
{{Refbegin|30em}}<br />
* Allison, Ronald; Riddell, Sarah (1991). ''The Royal Encyclopedia''. London: Macmillan. {{ISBN|0-333-53810-2}}<br />
* Blaikie, Thomas (2002). ''You Look Awfully Like the Queen: Wit and Wisdom from the House of Windsor''. London: Harper Collins. {{ISBN|0-00-714874-7}}.<br />
* Goring, O. G. (1937). ''From Goring House to Buckingham Palace''. London: Ivor Nicholson & Watson.<br />
* Harris, John; de Bellaigue, Geoffrey; & Miller, Oliver (1968). ''Buckingham Palace''. London: Nelson. {{ISBN|0-17-141011-4}}.<br />
* Healey, Edma (1997). ''The Queen's House: A Social History of Buckingham Palace''. London: Penguin Group. {{ISBN|0-7181-4089-3}}.<br />
* Hedley, Olwen (1971) ''The Pictorial History of Buckingham Palace''. Pitkin, {{ISBN|0-85372-086-X}}.<br />
* {{Cite book |title=Architecture of England, Scotland, and Wales |last=Jones |first=Nigel R. |publisher=Greenwood Publishing Group |year=2005 |isbn=978-0-313-31850-4}}<br />
* {{Cite book |title=Twilight of Splendor: The Court of Queen Victoria During Her Diamond Jubilee Year |last=King |first=Greg |publisher=John Wiley & Sons |year=2007 |isbn=978-0-470-04439-1}}<br />
* [[Compton Mackenzie|Mackenzie, Compton]] (1953). ''The Queen's House''. London: Hutchinson.<br />
* Nash, Roy (1980). ''Buckingham Palace: The Place and the People''. London: Macdonald Futura. {{ISBN|0-354-04529-6}}.<br />
* {{Cite book |title=The Story of Buckingham Palace |last=Peacocke, M. D. |publisher=Odhams Press |year=1951 |location=London}}<br />
* {{Cite book |title=Queen Victoria: A Biographical Companion |last=Rappaport |first=Helen |publisher=ABC-CLIO |year=2003 |isbn=978-1-85109-355-7}}<br />
* Robinson, John Martin (1999). ''Buckingham Palace''. Published by The [[Royal Collection]], St&nbsp;James's Palace, London {{ISBN|1-902163-36-2}}.<br />
* Williams, Neville (1971). ''Royal Homes''. The Lutterworth Press. {{ISBN|0-7188-0803-7}}.<br />
* [[Cecil Woodham-Smith|Woodham-Smith, Cecil]] (1973). ''Queen Victoria'' ''(vol 1)'' Hamish Hamilton Ltd.<br />
* Wright, Patricia (1999; first published 1996). ''The Strange History of Buckingham Palace''. Stroud, Gloucs.: Sutton Publishing Ltd. {{ISBN|0-7509-1283-9}}.<br />
{{Refend}}<br />
<br />
==External links==<br />
{{Commons category|Buckingham Palace}}<br />
{{Wikivoyage}}<br />
* [https://www.royal.uk/royal-residences-buckingham-palace Buckingham Palace] at the Royal Family website<br />
* [http://www.british-history.ac.uk/report.asp?compid=45183 Account of Buckingham Palace, with prints of Arlington House and Buckingham House] from ''Old and New London'' (1878)<br />
* [http://www.british-history.ac.uk/report.asp?compid=41820 Account of the acquisition of the Manor of Ebury] from ''Survey of London'' (1977)<br />
* [https://www.rct.uk/visit/the-state-rooms-buckingham-palace The State Rooms, Buckingham Palace] at the [[Royal Collection Trust]]<br />
* {{osmrelation|5208404}}<br />
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{{Royal palaces in the United Kingdom}}<br />
{{London landmarks}}<br />
<br />
[[Category:Buckingham Palace| ]]<br />
[[Category:1837 establishments in England]]<br />
[[Category:Buildings and structures on The Mall, London]]<br />
[[Category:Edward Blore buildings]]<br />
[[Category:Edwardian architecture in London]]<br />
[[Category:Georgian architecture in London]]<br />
[[Category:Grade I listed buildings in the City of Westminster]]<br />
[[Category:Grade I listed palaces]]<br />
[[Category:Historic house museums in London]]<br />
[[Category:Houses completed in 1703]]<br />
[[Category:Houses completed in 1762]]<br />
[[Category:John Nash buildings]]<br />
[[Category:Museums in the City of Westminster]]<br />
[[Category:Neoclassical architecture in London]]<br />
[[Category:Neoclassical palaces]]<br />
[[Category:Palaces in London]]<br />
[[Category:Regency architecture in London]]<br />
[[Category:Royal buildings in London]]<br />
[[Category:Royal residences in the City of Westminster]]<br />
[[Category:Terminating vistas in the United Kingdom]]<br />
[[Category:Tourist attractions in the City of Westminster]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Buckingham_Palace&diff=939431885Buckingham Palace2020-02-06T12:42:00Z<p>5.35.187.134: </p>
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{{short description|Official London residence and principal workplace of the British monarch}}<br />
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[[File:Buckingham Palace from gardens, London, UK - Diliff (cropped).jpg|thumb|upright=1.6|alt=A wide, rectangular facade displaying two rows of 23 windows; columns stand out at each end and in the centre. |The principal [[Facade|façade]] of Buckingham Palace, the East Front, was originally constructed by [[Edward Blore]] and completed in 1850. It was remodelled by [[Sir Aston Webb]] in 1913.]]<br />
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'''Buckingham Palace''' ({{IPAc-en|uk|ˈ|b|ʌ|k|ɪ|ŋ|ə|m}}<ref>{{Cite web |url=http://www.collinsdictionary.com/dictionary/english/buckingham?showCookiePolicy=true |title=Buckingham |date=n.d. |publisher=Collins Dictionary |access-date=23 September 2014}}</ref><ref>{{Cite web |url=http://www.collinsdictionary.com/dictionary/english/palace?showCookiePolicy=true |title=Palace |date=n.d. |publisher=Collins Dictionary |access-date=23 September 2014}}</ref>) is the [[London]] [[official residence|residence]] and administrative headquarters of the [[monarchy of the United Kingdom]].{{efn|By tradition, the [[Court of St James's|British Royal Court]] is officially resident at [[St James's Palace]], which means that, while foreign [[ambassador]]s assuming their new position are received by the [[British sovereign]] at Buckingham Palace, they are accredited to the "Court of St James's Palace". This anomaly continues for the sake of tradition, as Buckingham Palace is to all intents and purposes the [[official residence]]. See [https://web.archive.org/web/20100529122601/http://www.royal.gov.uk/TheRoyalResidences/StJamessPalace/History.aspx History of St James's Palace] (Official website of the British Monarchy).}}<ref name="royal.uk">{{Cite web |url=https://www.royal.uk/royal-residences-buckingham-palace |title=Buckingham Palace |last=Royal Household |date=12 November 2015 |website=Royal Family website |access-date=21 April 2016}}</ref> Located in the [[City of Westminster]], the palace is often at the centre of state occasions and royal hospitality. It has been a focal point for the [[British people]] at times of national rejoicing and mourning.<br />
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Originally known as '''Buckingham House''', the building at the core of today's palace was a large [[townhouse (Great Britain)|townhouse]] built for the [[John Sheffield, 1st Duke of Buckingham and Normanby|Duke of Buckingham]] in 1703 on a site that had been in private ownership for at least 150 years. It was acquired by [[King George&nbsp;III]] in 1761<ref name="rob14">Robinson, p. 14.</ref> as a private residence for [[Queen Charlotte]] and became known as ''The Queen's House''. During the 19th&nbsp;century it was enlarged, principally by architects [[John Nash (architect)|John Nash]] and [[Edward Blore]], who constructed three wings around a central courtyard. Buckingham Palace became the London residence of the British monarch on the accession of [[Queen Victoria]] in 1837.<br />
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The last major structural additions were made in the late 19th and early 20th centuries, including the East Front, which contains the well-known balcony on which the royal family traditionally congregates to greet crowds. A German bomb destroyed the palace chapel during [[World War II]]; the [[Queen's Gallery]] was built on the site and opened to the public in 1962 to exhibit works of art from the [[Royal Collection]].<br />
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The original early 19th-century interior designs, many of which survive, include widespread use of brightly coloured [[scagliola]] and blue and pink [[Lapis lazuli|lapis]], on the advice of [[Charles Long, 1st Baron Farnborough|Sir&nbsp;Charles Long]]. [[King Edward&nbsp;VII]] oversaw a partial redecoration in a ''[[Belle Époque]]'' cream and gold colour scheme. Many smaller reception rooms are furnished in the Chinese [[Chinoiserie|regency]] style with furniture and fittings brought from the [[Royal Pavilion]] at [[Brighton]] and from [[Carlton House, London|Carlton House]]. The palace has 775 rooms, and [[Buckingham Palace Garden|the garden]] is the largest private garden in London. The state rooms, used for official and state entertaining, are open to the public each year for most of August and September and on some days in winter and from salma.<br />
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==History==<br />
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===Site===<br />
[[File:Buckingham House 1710.jpeg|thumb|Buckingham House, c. 1710, was designed by [[William Winde]] for the 1st Duke of Buckingham and Normanby.<!--note - "Normanby" is correct spelling, do not change please --> This façade evolved into today's Grand Entrance on the west (inner) side of the quadrangle, with the Green Drawing Room above it.]]<br />
In the [[Middle Ages]], the site of the future palace formed part of the [[Manor of Ebury]] (also called Eia). The marshy ground was watered by the river [[Tyburn (stream)|Tyburn]], which still flows below the courtyard and south wing of the palace.<ref>Goring, p. 15.</ref> Where the river was fordable (at Cow Ford), the village of Eye Cross grew. Ownership of the site changed hands many times; owners included [[Edward the Confessor]] and his [[queen consort]] [[Edith of Wessex]] in late Saxon times, and, after the [[Norman conquest of England|Norman Conquest]], [[William the Conqueror]]. William gave the site to [[Geoffrey de Mandeville (11th&nbsp;century)|Geoffrey de Mandeville]], who bequeathed it to the monks of [[Westminster Abbey]].{{efn|The topography of the site and its ownership are dealt with in Wright, chapters 1–4.}}<br />
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In 1531, [[Henry VIII of England|Henry&nbsp;VIII]] acquired the Hospital of St&nbsp;James, which became [[St&nbsp;James's Palace]],<ref>Goring, p. 28.</ref> from [[Eton College]], and in 1536 he took the Manor of Ebury from Westminster Abbey.<ref>Goring, p. 18.</ref> These transfers brought the site of Buckingham Palace back into royal hands for the first time since William the Conqueror had given it away almost 500 years earlier.<ref>{{Cite book |title=The Grosvenor Estate in Mayfair |work=[[Survey of London]] |publisher=London County Council |year=1977 |volume=39 |pages=1–5 |chapter=Chapter 1: The Acquisition of the Estate |access-date=3 February 2009 |chapter-url=http://www.british-history.ac.uk/report.aspx?compid=41820}}</ref><br />
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Various owners leased it from royal landlords, and the [[Freehold (law)|freehold]] was the subject of frenzied speculation during the 17th&nbsp;century. By then, the old village of Eye Cross had long since fallen into decay, and the area was mostly wasteland.<ref>Wright, pp. 76–78.</ref> Needing money, [[James&nbsp;I]] sold off part of the Crown freehold but retained part of the site on which he established a {{convert|4|acre|ha|adj=on}} mulberry garden for the production of silk. (This is at the north-west corner of today's palace.)<ref>Goring, pp. 31, 36.</ref> [[Clement Walker]] in ''Anarchia Anglicana'' (1649) refers to "new-erected sodoms and spintries at the Mulberry Garden at S. James's"; this suggests it may have been a place of debauchery. Eventually, in the late 17th&nbsp;century, the freehold was inherited from the property tycoon Sir&nbsp;[[Hugh Audley]] by the great heiress Mary Davies.{{efn|Audley and Davies were key figures in the development of Ebury Manor and also the Grosvenor Estate (see [[dukes of Westminster]]), which still exists today. They are remembered in the streetnames North Audley Street, [[South Audley Street]], and Davies Street, all in [[Mayfair]].}}<br />
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===First houses on the site===<br />
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====Goring House====<br />
Possibly the first house erected within the site was that of a Sir&nbsp;William Blake, around 1624.<ref>Wright, p. 83.</ref> The next owner was [[George Goring, 1st Earl of Norwich|Lord Goring]], who from 1633 extended Blake's house and developed much of today's garden, then known as Goring Great Garden.<ref>Goring, Chapter V</ref><ref name="Harris, p.21">Harris, p. 21.</ref> He did not, however, obtain the freehold interest in the mulberry garden. Unbeknown to Goring, in 1640 the document "failed to pass the [[Great Seal of the Realm|Great Seal]] before [[Charles I of England|King Charles&nbsp;I]] fled London, which it needed to do for legal execution".<ref>Wright, p. 96.</ref> It was this critical omission that helped the British royal family regain the freehold under [[King George&nbsp;III]].<ref>Goring, p. 62.</ref><br />
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====Arlington House====<br />
The improvident Goring defaulted on his rents;<ref>Goring, p. 58.</ref> [[Henry Bennet, 1st Earl of Arlington]] obtained the mansion and was occupying it, now known as Goring House, when it burned down in 1674.<ref name="Harris, p.21" /> Arlington House rose on the site—the location of the southern wing of today's palace—the next year.<ref name="Harris, p.21" /> In 1698, [[John Sheffield, 1st Duke of Buckingham and Normanby|John Sheffield]], later the first [[Duke of Buckingham and Normanby]], acquired the lease.<ref name="who built">{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-built-the-palace |title=Who built Buckingham Palace? |publisher=Royal Collection Trust |access-date=8 March 2016}}</ref><br />
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====Buckingham House====<br />
[[File:Buckingham Palace engraved by J.Woods after Hablot Browne & R.Garland publ 1837 edited.jpg|thumb|The palace c. 1837, depicting the [[Marble Arch]], which served as the ceremonial entrance to the Palace [[precinct]]s. It was moved to make way for the east wing, built in 1847, which enclosed the quadrangle.]]<br />
The house which forms the architectural core of the palace was built for the first [[John Sheffield, 1st Duke of Buckingham and Normanby|Duke of Buckingham and Normanby]]<!--note - "Normanby" is correct spelling, do not change please --> in 1703 to the design of [[William Winde]]. The style chosen was of a large, three-floored central block with two smaller flanking service wings.<ref>Harris, p. 22.</ref> Buckingham House was eventually sold by Buckingham's illegitimate son, [[Sir Charles Herbert Sheffield, 1st Baronet|Sir Charles Sheffield]], in 1761<ref name="rob14" /> to George&nbsp;III for [[Pound (currency)|£]]21,000.<ref>Mackenzie, p. 12 and Nash, p. 18.</ref>{{efn|The purchase price is given by Wright p. 142 as £28,000.}} Sheffield's [[leasehold]] on the mulberry garden site, the freehold of which was still owned by the royal family, was due to expire in 1774.<ref>Mackenzie, p. 12</ref><br />
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===From Queen's House to palace===<br />
{{anchor|Queen's House}}<!-- [[Queen's House (disambiguation)]] links here--><br />
Under the new Crown ownership, the building was originally intended as a private retreat for King George&nbsp;III's wife, [[Queen Charlotte]], and was accordingly known as '''The Queen's House'''. Remodelling of the structure began in 1762.<ref>Harris, p. 24.</ref> In 1775, an Act of Parliament settled the property on Queen Charlotte, in exchange for her rights to [[Somerset House]],<ref name="Old and New">{{Cite book |url=http://www.british-history.ac.uk/report.aspx?compid=45183 |title=Old and New London |publisher=Cassell, Petter & Galpin |year=1878 |volume=4 |pages=61–74}}</ref>{{efn|The tradition persists of foreign ambassadors being formally accredited to "the [[Court of St James's]]", even though it is at Buckingham Palace that they present their credentials and staff to the Monarch upon their appointment.}} and 14 of her 15 children were born there. Some furnishings were transferred from [[Carlton House, London|Carlton House]], and others had been bought in France after the French Revolution<ref>Jones, p. 42.</ref> of 1789. While [[St&nbsp;James's Palace]] remained the official and ceremonial royal residence,<ref name="Old and New" /> the name "Buckingham-palace" was used from at least 1791.<ref>{{Cite book |url=https://books.google.com/books?id=0Zg-AAAAYAAJ |title=The Annual Register |year=1791 |editor-last=Burke |editor-first=Edmund |page=8 |quote=Buckingham-palace was the dwelling house of the king. |access-date=25 September 2016}}</ref><br />
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After his accession to the throne in 1820, [[King George&nbsp;IV]] continued the renovation with the idea in mind of a small, comfortable home. However, in 1826, while the work was in progress, the King decided to modify the house into a palace with the help of his architect [[John Nash (architect)|John Nash]].<ref>Harris, pp. 30–31.</ref> The external façade was designed, keeping in mind the French neo-classical influence preferred by George&nbsp;IV. The cost of the renovations grew dramatically, and by 1829 the extravagance of Nash's designs resulted in his removal as the architect. On the death of George&nbsp;IV in 1830, his younger brother [[King William&nbsp;IV]] hired [[Edward Blore]] to finish the work.<ref>Harris, p. 33.</ref><ref>{{Cite web |url=http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/History.aspx |title=The Royal Residences > Buckingham Palace > History |publisher=www.royal.gov.uk |archive-url=https://web.archive.org/web/20100328161802/http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/History.aspx |archive-date=28 March 2010}}</ref> After the destruction of the [[Palace of Westminster]] by fire in 1834, William considered converting the palace into the new Houses of Parliament.<ref>{{Cite book |title=King William IV |last=[[Philip Ziegler|Ziegler, Philip]] |publisher=Collins |year=1971 |isbn=978-0-00-211934-4 |page=280}}</ref><br />
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==Home of the monarch==<br />
{{multiple image<br />
| footer = The east wing of Buckingham Palace, the public façade, enclosing the courtyard, was a later addition, built between 1847 and 1850; it was remodelled to its present form in 1913 (shown on the right).<br />
| align = right<br />
| image1 = 1910_Buckingham_Palace.png<br />
| width1 = 220<br />
| image2 = Buckingham Palace from side, London, UK - Diliff.jpg<br />
| width2 = 220<br />
}}<br />
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Buckingham Palace finally became the principal royal residence in 1837, on the accession of Queen Victoria,<ref>{{Cite web |url=http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/BuckinghamPalace.aspx |title=The Royal Residences > Buckingham Palace |publisher=www.royal.gov.uk |archive-url=https://web.archive.org/web/20100327220845/http://www.royal.gov.uk/TheRoyalResidences/BuckinghamPalace/BuckinghamPalace.aspx |archive-date=27 March 2010}}</ref> who was the first monarch to reside there; her predecessor William&nbsp;IV had died before its completion.<ref>Hedley, p. 10.</ref> While the [[state room]]s were a riot of gilt and colour, the necessities of the new palace were somewhat less luxurious. For one thing, it was reported the chimneys smoked so much that the fires had to be allowed to die down, and consequently the court shivered in icy magnificence.<ref name="ws249">Woodham-Smith, p. 249.</ref> Ventilation was so bad that the interior smelled, and when it was decided to install gas lamps, there was a serious worry about the build-up of gas on the lower floors. It was also said that staff were lax and lazy and the palace was dirty.<ref name="ws249" /> Following the Queen's marriage in 1840, her husband, [[Albert, Prince Consort|Prince Albert]], concerned himself with a reorganisation of the [[Royal Household|household]] offices and staff, and with addressing the design faults of the palace.<ref name="Rappaport">Rappaport, p. 84.</ref> By the end of 1840, all the problems had been rectified. However, the builders were to return within the decade.<ref name="Rappaport">Rappaport, p. 84.</ref><br />
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By 1847, the couple had found the palace too small for court life and their growing family,<ref>Harris, de Bellaigue & Miller, p. 33.</ref> and consequently the new wing, designed by Edward Blore, was built by [[Thomas Cubitt]],<ref>''Holland & Hannen and Cubitts&nbsp;– The Inception and Development of a Great Building Firm'', published 1920, p. 35.</ref> enclosing the central quadrangle. The large East Front, facing [[The Mall, London|The Mall]], is today the "public face" of Buckingham Palace, and contains the balcony from which the [[British Royal Family|royal family]] acknowledge the crowds on momentous occasions and after the annual [[Trooping the Colour]].<ref>{{Cite web |url=http://www.historyextra.com/article/feature/history-buckingham-palace-balcony-appearance-focal-point-national-celebration |title=Buckingham Palace's balcony: a focal point for national celebration |last=Owens |first=Ed |publisher=Immediate Media/BBC |access-date=12 June 2017}}</ref> The [[ballroom]] wing and a further suite of state rooms were also built in this period, designed by Nash's student [[James Pennethorne|Sir&nbsp;James Pennethorne]].<ref name="Twilight">King, p. 217.</ref><br />
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Before Prince Albert's death, the palace was frequently the scene of musical entertainments,<ref>Hedley, p. 19.</ref> and the most celebrated contemporary musicians entertained at Buckingham Palace. The composer [[Felix Mendelssohn]] is known to have played there on three occasions.<ref>Healey, pp. 137–138.</ref> [[Johann Strauss&nbsp;II]] and his orchestra played there when in England.<ref>Healey, p. 122.</ref> Under Victoria, Buckingham Palace was frequently the scene of lavish costume balls, in addition to the usual royal ceremonies, investitures and presentations.<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-has-lived-at-the-palace |title=Who has lived at Buckingham Palace? |publisher=Royal Collection Trust |url-status=live |archive-url=https://web.archive.org/web/20170623215833/https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-has-lived-at-the-palace |archive-date=23 June 2017 |access-date=12 June 2017}}</ref><br />
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Widowed in 1861, the grief-stricken Queen withdrew from public life and left Buckingham Palace to live at [[Windsor Castle]], [[Balmoral Castle]] and [[Osborne House]]. For many years the palace was seldom used, even neglected. In 1864, a note was found pinned to the fence of Buckingham Palace, saying: "These commanding premises to be let or sold, in consequence of the late occupant's declining business."<ref name="Gardiner2006">{{Cite book |url=https://books.google.com/books?id=Dipe9nVHV3cC&pg=PA142 |title=The Victorians: An Age in Retrospect |last=John Gardiner |publisher=A&C Black |year=2006 |isbn=978-1-85285-560-4 |page=142}}</ref> Eventually, public opinion persuaded the Queen to return to London, though even then she preferred to live elsewhere whenever possible. Court functions were still held at Windsor Castle, presided over by the sombre Queen habitually dressed in mourning black, while Buckingham Palace remained shuttered for most of the year.<ref name="rob9">Robinson, p. 9.</ref><br />
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===Interior===<br />
[[File:Plan of Buckingham palace.gif|thumb|left|''[[Piano nobile]]'' of Buckingham Palace. The areas defined by shaded walls represent lower minor wings. {{paragraph break}}'''Note''': This is an unscaled sketch plan for reference only. Proportions of some rooms may slightly differ in reality.]]<br />
The front of the palace measures {{convert|108|m|ft|order=flip|round=5}} across, by {{convert|120|m|ft|abbr=on|order=flip}} deep, by {{convert|24|m|ft|abbr=on|order=flip|-1}} high and contains over {{convert|77000|m2|sqft|abbr=on|order=flip}} of floorspace.<ref>{{Cite web |url=https://www.royal.uk/royal-residences-buckingham-palace |title=Royal Residences: Buckingham Palace |publisher=British Monarchy website |access-date=28 July 2019}}</ref> There are 775 rooms, including 188 staff bedrooms, 92 offices, 78 bathrooms, 52 principal bedrooms, and 19 state rooms. It also has a [[post office]], cinema, swimming pool, doctor's surgery,<ref name="fact">{{Cite web |url=http://www.royal.gov.uk/LatestNewsandDiary/Factfiles/40factsaboutBuckinghamPalace.aspx |title=40 facts about Buckingham Palace |publisher=British Monarchy website |archive-url=https://web.archive.org/web/20111104182150/http://www.royal.gov.uk/latestnewsanddiary/factfiles/40factsaboutbuckinghampalace.aspx |archive-date=4 November 2011}}</ref> and jeweller's workshop.<ref>{{Cite news |url=https://www.timesoftunbridgewells.co.uk/queen-honours-jeweller-with-top-personal-award/ |title=Queen honours jeweller with top personal award |date=6 January 2016 |work=Times of Tunbridge Wells |access-date=2 June 2016 |url-status=dead |archive-url=https://web.archive.org/web/20160701021803/https://www.timesoftunbridgewells.co.uk/queen-honours-jeweller-with-top-personal-award/ |archive-date=1 July 2016}}</ref><br />
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The principal rooms are contained on the ''[[piano nobile]]'' behind the west-facing garden façade at the rear of the palace. The centre of this ornate suite of state rooms is the Music Room, its large bow the dominant feature of the façade. Flanking the Music Room are the Blue and the White Drawing Rooms. At the centre of the suite, serving as a corridor to link the state rooms, is the Picture Gallery, which is top-lit and {{convert|55|yd|m}} long.<ref name="Harris, p.41">Harris, p. 41.</ref> The Gallery is hung with numerous works including some by [[Rembrandt]], [[Anthony van Dyck|van Dyck]], [[Peter Paul Rubens|Rubens]] and [[Johannes Vermeer|Vermeer]];<ref>Harris, pp. 78–79 and Healey, pp. 387–388.</ref> other rooms leading from the Picture Gallery are the [[Throne Room]] and the Green Drawing Room. The Green Drawing Room serves as a huge anteroom to the Throne Room, and is part of the ceremonial route to the throne from the Guard Room at the top of the Grand Staircase.<ref name="Harris, p.41" /> The Guard Room contains white marble statues of Queen Victoria and Prince Albert, in Roman costume, set in a [[Tribune (architecture)|tribune]] lined with tapestries. These very formal rooms are used only for ceremonial and official entertaining but are open to the public every summer.<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/the-state-rooms-buckingham-palace |title=Visit the State Rooms, Buckingham Palace |publisher=Royal Collection Trust |access-date=7 February 2016}}</ref><br />
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Directly underneath the [[State room|State Apartments]] are the less grand semi-state apartments. Opening from the Marble Hall, these rooms are used for less formal entertaining, such as luncheon parties and private [[Head of state|audiences]]. Some of the rooms are named and decorated for particular visitors, such as the ''1844 Room'', decorated in that year for the state visit of [[Tsar]] [[Nicholas&nbsp;I of Russia]], and the ''1855 Room'', in honour of the visit of Emperor [[Napoleon&nbsp;III of France]].<ref>Harris, p. 81.</ref> At the centre of this suite is the Bow Room, through which thousands of guests pass annually to the Queen's [[garden parties]].<ref>Harris, p. 40.</ref> The Queen and Prince Philip use a smaller suite of rooms in the north wing.<ref name="Packard1982">{{Cite book |url=https://books.google.com/books?id=dfk_5uIFtqIC |title=The Queen and Her Court: A Guide to the British Monarchy Today |last=Jerrold M. Packard |publisher=Simon & Schuster |year=1982 |isbn=978-0-684-17648-2 |page=48}}</ref><br />
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[[File:Duke of Edinburgh 9 Allan Warren.jpg|thumb|upright|The Duke of Edinburgh in the Chinese Luncheon Room]]<br />
Between 1847 and 1850, when Blore was building the new east wing, the [[Brighton Pavilion]] was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by [[Robert Jones (designer)|Robert Jones]] and sculpted by [[Richard Westmacott]].<ref name="Harris, de Bellaigue & Miller, p. 87.">Harris, de Bellaigue & Miller, p. 87.</ref> It was formerly in the Music Room at the Brighton Pavilion.<ref name="Harris, de Bellaigue & Miller, p. 87." /> The ornate clock, known as the [[Qilin|Kylin Clock]], was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by [[Benjamin Vulliamy]] circa 1820.<ref>Harris, de Bellaigue & Miller, p. 135.</ref> The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding [[Mandarin (bureaucrat)|mandarins]] in [[Niche (architecture)|niches]] and fearsome winged [[Chinese dragon|dragons]], designed by Robert Jones.<ref>Healey, pp. 159–160.</ref><br />
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At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer [[Sir&nbsp;Charles Allom]], created a more "binding"<ref>Harris, de Bellaigue & Miller, p. 93.</ref> Chinese theme in the late 1920s, although the [[lacquer]] doors were brought from Brighton in 1873. Running the length of the ''piano nobile'' of the east wing is the Great Gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle.<ref>Harris, de Bellaigue & Miller, p. 91.</ref> It has mirrored doors and mirrored cross walls reflecting [[porcelain]] pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room in between.<ref name="HarrisBellaigue1968">{{Cite book |url=https://books.google.com/books?id=pscQAQAAMAAJ |title=Buckingham Palace and its Treasures |last=John Harris |last2=Geoffrey De Bellaigue |last3=Oliver Millar |publisher=Viking Press |year=1968 |page=90}}</ref><br />
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The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured [[scagliola]] and blue and pink [[Lapis lazuli|lapis]], on the advice of Sir&nbsp;Charles Long. [[King Edward&nbsp;VII]] oversaw a partial redecoration in a [[Belle Époque|Belle époque]] cream and gold colour scheme.<ref name="Jones43">Jones, p. 43.</ref><br />
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When paying a state visit to Britain, foreign [[heads of state]] are usually entertained by the Queen at Buckingham Palace. They are allocated an extensive suite of rooms known as the Belgian Suite, situated at the foot of the Minister's Staircase, on the ground floor of the north-facing Garden Wing. Narrow corridors link the rooms of the suite, one of them is given extra height and perspective by [[saucer dome]]s designed by Nash in the style of Soane.<ref name="harrisp82">Harris, p. 82.</ref> A second corridor in the suite has Gothic-influenced [[Vault (architecture)|cross-over vaulting]].<ref name="harrisp82" /> The Belgian Rooms themselves were decorated in their present style and named after King [[Leopold I of Belgium]], uncle of Queen Victoria and Prince Albert. In 1936, the suite briefly became the private apartments of the palace when [[King Edward&nbsp;VIII]] occupied them.<ref name="fact" /><br />
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===Court ceremonies===<br />
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====Investitures====<br />
[[Investiture]]s, which include the conferring of [[knight]]hoods by dubbing with a sword, and other awards take place in the palace's Ballroom, built in 1854. At {{convert|36.6|m|ft|abbr=on|order=flip}} long, {{convert|18|m|ft|abbr=on|order=flip|-1}} wide and {{convert|13.5|m|ft|abbr=on|order=flip|round=5}} high,<ref name="fact" /> it is the largest room in the palace. It has replaced the throne room in importance and use. During investitures, the Queen stands on the throne dais beneath a giant, domed velvet canopy, known as a [[shamiana]] or a [[baldachin]], that was used at the [[Delhi Durbar]] in 1911.<ref>Harris, p. 72.</ref> A military band plays in the musicians' gallery as award recipients approach the Queen and receive their [[honour]]s, watched by their families and friends.<ref name="Healey, p.364">Healey, p. 364.</ref><br />
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====State banquets====<br />
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State [[banquet]]s also take place in the Ballroom; these formal dinners are held on the first evening of a state visit by a foreign head of state.<ref name="Healey, p.364" /> On these occasions, for up to 170 guests in formal "white tie and decorations", including tiaras, the dining table is laid with the Grand Service, a collection of silver-gilt plate made in 1811 for the Prince of Wales, later George&nbsp;IV.<ref>{{Cite news |url=https://www.telegraph.co.uk/news/uknews/theroyalfamily/2457467/Royal-seal-of-approval-for-state-banquet-exhibition.html |title=Royal seal of approval for state banquet exhibition |date=25 July 2008 |work=The Telegraph |access-date=31 January 2016 |location=London}}</ref> The largest and most formal reception at Buckingham Palace takes place every November when the Queen entertains members of the [[diplomatic corps]].<ref>Healey, p. 362.</ref> On this grand occasion, all the state rooms are in use, as the royal family proceed through them,<ref>Hedley, p. 16.</ref> beginning at the great north doors of the Picture Gallery. As Nash had envisaged, all the large, double-mirrored doors stand open, reflecting the numerous crystal chandeliers and sconces, creating a deliberate optical illusion of space and light.<ref>Robinson, p. 18.</ref><br />
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====Other ceremonies and functions====<br />
Smaller ceremonies such as the reception of new ambassadors take place in the "1844 Room". Here too, the Queen holds small lunch parties, and often meetings of the [[Her Majesty's Most Honourable Privy Council|Privy Council]]. Larger lunch parties often take place in the curved and domed Music Room or the State Dining Room.<ref name="Healey, pp. 363–365">Healey, pp. 363–365.</ref> Since the bombing of the palace chapel in World War&nbsp;II, royal christenings have sometimes taken place in the Music Room. The Queen's first three children were all baptised there.<ref>Robinson, p. 49.</ref> On all formal occasions, the ceremonies are attended by the [[Yeomen of the Guard]], in their historic uniforms, and other officers of the court such as the [[Lord Chamberlain]].<ref name="Healey, pp. 363–365" /><br />
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===Former ceremonial at the Palace===<br />
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====Court dress====<br />
[[File:Obama and Duke Duchess of Cambridge.jpg|thumb|right|The 1844 Room, a sitting room of the Belgium Suite, also serves as an audience room and is often used for personal investitures.]]<br />
[[File:President Nixon visiting Buckingham Palace with Britain's royal family - NARA - 194606.tif|thumb|President Nixon with members of the royal family in the ground floor Marble Hall]]<br />
Formerly, men not wearing [[military uniform]] wore knee [[breeches]] of 18th-century design. Women's evening dress included trains and [[tiara]]s or feathers in their hair (often both). The dress code governing formal [[Court uniform and dress in the United Kingdom|court uniform and dress]] has progressively relaxed. After the [[First World War]], when [[Mary of Teck|Queen Mary]] wished to follow fashion by raising her skirts a few inches from the ground, she requested a [[lady-in-waiting]] to shorten her own skirt first to gauge the King's reaction. [[King George&nbsp;V]] was horrified, so the Queen kept her hemline unfashionably low.<ref>Healey, p. 233, quoting ''The Memoirs of Mabell, Countess of Airlie'', edited and arranged by Jennifer Ellis, London: Hutchinson, 1962.</ref> Following his accession in 1936, [[King George&nbsp;VI]] and [[Queen Elizabeth The Queen Mother|Queen Elizabeth]] allowed the hemline of daytime skirts to rise. Today, there is no official dress code.<ref name="fact" /> Most men invited to Buckingham Palace in the daytime choose to wear [[service uniform]] or [[lounge suit]]s;<ref name="fact" /> a minority wear [[morning coat]]s, and in the evening, depending on the formality of the occasion, [[black tie]] or [[white tie]].<ref name="Seldon1999">{{Cite book |url=https://books.google.com/books?id=jj2AAAAAIAAJ |title=10 Downing Street: The Illustrated History |last=Anthony Seldon |publisher=Harper Collins Illustrated |year=1999 |isbn=978-0-00-414073-5 |page=202}}</ref><br />
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====Court presentation of débutantes====<br />
[[Débutante]]s were aristocratic young ladies making their first entrée into society through a presentation to the monarch at court. These occasions, known as "coming out", took place at the palace from the reign of Edward&nbsp;VII. The débutantes entered—wearing full court dress, with three ostrich feathers in their hair—curtsied, performed a backwards walk and a further curtsey, while manoeuvring a dress train of prescribed length. The ceremony, known as an evening court, corresponded to the "court [[drawing room]]s" of Victoria's reign.<ref>Peacocke, pp. 178–179, 244–247.</ref> After World War&nbsp;II, the ceremony was replaced by less formal afternoon receptions, usually omitting curtsies and court dress.<ref>Peacocke, pp. 264–265.</ref> In 1958, the Queen abolished the presentation parties for débutantes,<ref>{{Cite web |url=http://www.royal.gov.uk/output/page5299.asp |title=Mailbox |website=Royal Insight Magazine |archive-url=https://web.archive.org/web/20080123231607/http://www.royal.gov.uk/output/page5299.asp |archive-date=23 January 2008 |access-date=23 January 2008}}</ref> replacing them with [[Garden at Buckingham Palace#Garden parties|Garden Parties]],{{efn|[[Princess Margaret]] is reputed to have remarked of the débutante presentations: "We had to put a stop to it, every tart in London was getting in."<ref>{{Cite book |title=You look awfully like the Queen |last=Blaikie |first=Thomas |publisher=Harper Collins |year=2002 |isbn=978-0-00-714874-5 |location=London}}</ref>}} for up to 8,000 invitees in the Garden. They are the largest functions of the year.<ref>{{Cite web |url=http://www.royal.gov.uk/RoyalEventsandCeremonies/GardenParties/TheGuests.aspx |title=Garden parties: The guests |last=Royal Household |website=Official Website of the British Monarchy |archive-url=https://web.archive.org/web/20130117060104/http://www.royal.gov.uk/RoyalEventsandCeremonies/GardenParties/TheGuests.aspx |archive-date=17 January 2013}}</ref><br />
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====Security breaches====<br />
[[The boy Jones]] was an intruder who gained entry to the palace on three occasions between 1838 and 1841.<ref>[[Punch (magazine)|Punch]], [http://www.gutenberg.org/dirs/1/7/2/1/17216/17216.txt Volume 1: July–December 1841].</ref><ref name="dickens">[[Charles Dickens|Dickens, Charles]] (5 July 1885) "[http://john-adcock.blogspot.com/2008/10/boy-jones.html The boy Jones]", ''[[All the Year Round]]'', pp. 234–37.</ref> At least 12 people have managed to gain unauthorised entry into the palace or its grounds since 1914,<ref>{{Cite news |url=https://www.washingtonpost.com/news/morning-mix/wp/2014/09/24/remember-the-visitor-to-the-queens-bedroom-when-it-comes-to-intruders-buckingham-palace-beats-the-white-house-any-day/ |title=Remember the guy who got into the Queen’s bedroom? |last=Tobey, Pam |date=24 September 2014 |work=[[The Washington Post]] |access-date=21 June 2016}}</ref> including [[Michael Fagan incident|Michael Fagan]], who broke into the palace twice in 1982 and entered the Queen's bedroom on the second occasion. At the time, news media reported that he had a long conversation with the Queen while she waited for security officers to arrive, but in a 2012 interview with ''[[The Independent]]'', Fagan said the Queen ran out of the room, and no conversation took place.<ref name="independent">{{Cite news |url=https://www.independent.co.uk/news/people/profiles/michael-fagan-her-nightie-was-one-of-those-liberty-prints-down-to-her-knees-7179547.html |title=Michael Fagan: 'Her nightie was one of those Liberty prints, down to her knees' |last=Dugan |first=Emily |date=19 February 2012 |work=The Independent on Sunday |access-date=4 January 2014}}</ref> It was only in 2007 that trespassing on the palace grounds became a specific criminal offence.<ref>{{Cite news |url=http://news.bbc.co.uk/1/hi/uk/6492003.stm |title=Trespass law targets royal sites |date=24 March 2007 |work=[[BBC News]] |access-date=27 February 2016}}</ref>{{efn|Under section 128(1) of the [[Serious Organised Crime and Police Act 2005]], "A person commits an offence if he enters, or is on, any designated site in England and Wales or Northern Ireland as a trespasser".<ref>{{Cite web |url=http://www.legislation.gov.uk/ukpga/2005/15/part/4/crossheading/trespass-on-designated-site |title=Serious Organised Crime and Police Act 2005 |date=7 January 2005 |publisher=Legislation.gov.uk |access-date=11 June 2017}}</ref> Buckingham Palace is a designated site under the Serious Organised Crime and Police Act 2005 (Designated Sites under Section 128) Order 2007.<ref>{{Cite web |url=http://www.legislation.gov.uk/uksi/2007/930/made |title=The Serious Organised Crime and Police Act 2005 (Designated Sites under Section 128) Order 2007 |date=1 June 2007 |publisher=Legislation.gov.uk |access-date=11 June 2017}}</ref>}}<br />
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===Garden and surroundings===<br />
[[File:Buckingham Palace west facade.jpg|thumb|The west façade of Buckingham Palace, faced in [[Bath stone]], seen from the [[Buckingham Palace Garden|palace garden]]]]<br />
{{details|Garden at Buckingham Palace}}<br />
At the rear of the palace is the large and park-like garden, which together with its lake is the largest private garden in London.<ref>{{Cite web |url=http://www.museumoflondon.org.uk/English/Collections/OnlineResources/X20L/Themes/1381/1092/ |title=''Buckingham Palace'' |url-status=dead |archive-url=https://web.archive.org/web/20080502231028/http://www.museumoflondon.org.uk/English/Collections/OnlineResources/X20L/Themes/1381/1092/ |archive-date=2 May 2008 |access-date=3 February 2009}} ([[Museum of London]].) Retrieved 2 May 2009.</ref> There, the Queen hosts her annual garden parties each summer and also holds large functions to celebrate royal milestones, such as jubilees. It covers {{convert|40|acres|abbr=on}} and includes a helicopter landing area, a lake, and a tennis court.<ref name="fact" /><br />
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Adjacent to the palace is the [[Royal Mews]], also designed by Nash, where the royal carriages, including the [[Gold State Coach]], are housed. This [[rococo]] gilt coach, designed by [[Sir&nbsp;William Chambers]] in 1760, has painted panels by [[Giovanni Battista Cipriani|G. B. Cipriani]]. It was first used for the State Opening of Parliament by George&nbsp;III in 1762 and has been used by the monarch for every coronation since George&nbsp;IV. It was last used for the [[Golden Jubilee of Elizabeth&nbsp;II]].<ref>{{Royal Collection|5000048|Gold State Coach}}</ref> Also housed in the mews are the coach horses used at royal ceremonial processions.<ref>{{Cite web |url=http://www.royal.gov.uk/TheRoyalResidences/TheRoyalMews/TheRoyalMews.aspx |title=The Royal Residences > The Royal Mews |publisher=www.royal.gov.uk |archive-url=https://web.archive.org/web/20090710044631/http://www.royal.gov.uk/TheRoyalResidences/TheRoyalMews/TheRoyalMews.aspx |archive-date=10 July 2009}}</ref><br />
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[[The Mall, London|The Mall]], a ceremonial approach route to the palace, was designed by Sir&nbsp;[[Aston Webb]] and completed in 1911 as part of a grand memorial to [[Queen Victoria]]. It extends from [[Admiralty Arch]], across [[St&nbsp;James's Park]] to the [[Victoria Memorial (London)|Victoria Memorial]]. This route is used by the cavalcades and motorcades of visiting heads of state, and by the royal family on state occasions—such as the annual [[Trooping the Colour]].<ref>{{Cite book |title=London |last=Nicholson, Louise |publisher=Frances Lincoln |year=1998 |isbn=978-0-7112-1187-2 |location=London |page=56 |author-link=Louise Nicholson}}</ref><br />
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==Modern history==<br />
[[File:Barack Obama Michelle Obama Queen Elizabeth II Buckingham Palace London.jpg|thumb|Visiting heads of state are received by the Queen at either Buckingham Palace or Windsor Castle. Here, United States President [[Barack Obama]] and [[Michelle Obama]] are greeted in 2009 in the first-floor audience chamber in the private apartments in the north wing.]]<br />
In 1901, the accession of Edward&nbsp;VII saw new life breathed into the palace. The King and his wife, [[Queen Alexandra]], had always been at the forefront of London high society, and their friends, known as "the [[Marlborough House]] Set", were considered to be the most eminent and fashionable of the age. Buckingham Palace—the Ballroom, Grand Entrance, Marble Hall, Grand Staircase, vestibules and galleries redecorated in the [[Belle Époque]] cream and gold colour scheme they retain today—once again became a setting for entertaining on a majestic scale but leaving some to feel King Edward's heavy redecorations were at odds with Nash's original work.<ref>Robinson (Page 9) asserts that the decorations, including plaster swags and other decorative motifs, are "finicky" and "at odds with Nash's original detailing".</ref><br />
<br />
The last major building work took place during the reign of King George&nbsp;V when, in 1913, Sir&nbsp;Aston Webb redesigned Blore's 1850 East Front to resemble in part [[Giacomo Leoni]]'s [[Lyme Park]] in Cheshire. This new, refaced principal façade (of [[Portland stone]]) was designed to be the backdrop to the [[Victoria Memorial (London)|Victoria Memorial]], a large memorial statue of Queen Victoria, placed outside the main gates.<ref>Harris, p. 34.</ref> George&nbsp;V, who had succeeded Edward&nbsp;VII in 1910, had a more serious personality than his father; greater emphasis was now placed on official entertaining and royal duties than on lavish parties.<ref>Healey, p. 185.</ref> He arranged a series of [[Royal Command Performance|command performances]] featuring [[jazz]] musicians such as the [[Original Dixieland Jazz Band]] (1919; the first jazz performance for a head of state), [[Sidney Bechet]], and [[Louis Armstrong]] (1932), which earned the palace a nomination in 2009 for a [[Brecon Jazz Festival#(Kind of) Blue Plaque|(Kind of) Blue Plaque]] by the [[Brecon Jazz Festival]] as one of the venues making the greatest contribution to jazz music in the United Kingdom.<ref>{{Cite news |url=http://www.thisislondon.co.uk/standard/article-23727267-buckingham-palace-hits-right-note-with-jazz-fans.do |title=Buckingham Palace hits right note with jazz fans |date=3 August 2009 |work=London Evening Standard |access-date=11 August 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100426000757/http://www.thisislondon.co.uk/standard/article-23727267-buckingham-palace-hits-right-note-with-jazz-fans.do |archive-date=26 April 2010}}</ref><ref>{{Cite news |url=https://www.theguardian.com/music/2009/aug/03/buckingham-palace-jazz-plaque-brecon |title=By royal approval: Buckingham Palace's place in jazz history |last=Stephen Bates |date=3 August 2009 |work=[[The Guardian]] |access-date=11 August 2010 |location=London}}</ref> King George&nbsp;V's wife, Queen Mary, was a [[connoisseur]] of the arts, and took a keen interest in the Royal Collection of furniture and art, both restoring and adding to it. Queen Mary also had many new fixtures and fittings installed, such as the pair of marble [[Empire style]] chimneypieces by Benjamin Vulliamy, dating from 1810, which the Queen had installed in the ground floor Bow Room, the huge low room at the centre of the garden façade. Queen Mary was also responsible for the decoration of the Blue Drawing Room.<ref>Healey pp. 221–222.</ref> This room, {{convert|69|ft|m|abbr=off}} long, previously known as the South Drawing Room, has a ceiling designed by Nash, coffered with huge gilt console brackets.<ref>Harris, p. 63.</ref><br />
<br />
[[File:Victoria Memorial from within Buckingham Palace.jpg|thumb|Sculptor Sir [[Thomas Brock]] created the [[Victoria Memorial (London)|Victoria Memorial]] in 1911; it was erected in front of the main gates at the palace on a surround constructed by architect Sir Aston Webb.]]<br />
During World War&nbsp;I, the palace, then the home of King George&nbsp;V and Queen Mary, escaped unscathed. Its more valuable contents were evacuated to Windsor, but the royal family remained in residence. The King imposed [[Rationing in the United Kingdom|rationing]] at the palace, much to the dismay of his guests and household.<ref>{{Cite book |title=King George V |last=Rose |first=Kenneth |publisher=Weidenfeld and Nicolson |year=1983 |isbn=978-0-297-78245-2 |location=London |pages=176–177 |author-link=Kenneth Rose}}</ref> To the King's later regret, [[David Lloyd George]] persuaded him to go further and ostentatiously lock the wine cellars and refrain from alcohol, to set a good example to the supposedly inebriated working class. The workers continued to imbibe, and the King was left unhappy at his enforced abstinence.<ref>Rose, pp. 178–179.</ref> In 1938, the north-west pavilion, designed by Nash as a conservatory, was converted into a swimming pool.<ref>Allison and Riddell, p. 69.</ref><br />
<br />
During World War&nbsp;II, the palace was bombed nine times;<ref>{{Cite web |url=https://www.royalcollection.org.uk/exhibitions/letter-from-queen-elizabeth-to-queen-mary-describing-the-bombing-of-buckingham-palace-13 |title=Letter from Queen Elizabeth to Queen Mary describing the bombing of Buckingham Palace, 13 September 1940 |publisher=Royal Collection Trust |access-date=31 March 2016}}</ref> the most serious and publicised incident destroyed the palace chapel in 1940. This event was shown in cinemas throughout the UK to show the common suffering of rich and poor. One bomb fell in the palace quadrangle while King George&nbsp;VI and Queen Elizabeth were in the palace, and many windows were blown in and the chapel destroyed.<ref>{{Cite book |title=Royal Feud |last=Thornton |first=Michael |publisher=M. Joseph |year=1984 |page=216}}</ref> War-time coverage of such incidents was severely restricted, however. The King and Queen were filmed inspecting their bombed home, the smiling Queen, as always, immaculately dressed in a hat and matching coat seemingly unbothered by the damage around her. It was at this time the Queen famously declared: "I'm glad we have been bombed. Now I can look the [[East End]] in the face." The royal family were seen as sharing their subjects' hardship, as ''[[The Sunday Graphic]]'' reported:<br />
<br />
{{quotation|By the Editor: The King and Queen have endured the ordeal which has come to their subjects. For the second time a German bomber has tried to bring death and destruction to the home of Their Majesties&nbsp;... When this war is over the common danger which King George and Queen Elizabeth have shared with their people will be a cherished memory and an inspiration through the years.<ref>''[[The Sunday Graphic]]'', 18 September 1939, p. 1.</ref>}}<br />
<br />
On 15 September 1940, known as the [[Battle of Britain Day]], an RAF pilot, [[Ray Holmes]] of [[No. 504 Squadron RAF]] rammed a German [[Dornier Do 17]] bomber he believed was going to bomb the Palace. Holmes had run out of ammunition and made the quick decision to ram it. Holmes bailed out and the aircraft crashed into the forecourt of [[London Victoria station]].<ref>Price, Alfred. ''The Battle of Britain Day'', Greenhill Books, London, 1990, pp. 49–50 and [[Stephen Bungay]], ''The Most Dangerous Enemy: A History of the Battle of Britain''. Aurum Press, London, 2000, p. 325.</ref> The bomber's engine was later exhibited at the [[Imperial War Museum]] in London. The British pilot became a [[Queen's Messenger|King's Messenger]] after the war and died at the age of 90 in 2005.<ref>{{Cite news |url=http://news.bbc.co.uk/1/hi/england/leicestershire/4398484.stm |title=Pilot who 'saved Palace' honoured |date=2 November 2005 |work=BBC News |access-date=18 March 2009}}</ref><br />
<br />
On [[Victory in Europe Day|VE Day]]—8 May 1945—the palace was the centre of British celebrations. The King, the Queen, Princess Elizabeth (the future Queen), and [[Princess Margaret, Countess of Snowdon|Princess Margaret]] appeared on the balcony, with the palace's blacked-out windows behind them, to cheers from a vast crowd in [[The Mall, London|The Mall]].<ref>''[http://news.bbc.co.uk/onthisday/hi/dates/stories/may/8/newsid_3580000/3580163.stm 1945: Rejoicing at end of war in Europe]'' (BBC ''On this day''.) Retrieved 3 February 2009.</ref> The damaged Palace was carefully restored after the war by [[Mowlem|John Mowlem & Co.]]<ref>{{Cite news |url=https://www.telegraph.co.uk/news/obituaries/1351908/Sir-Edgar-Beck.html |title=Sir Edgar Beck |date=9 August 2000 |work=The Telegraph |access-date=5 June 2012 |location=London}}</ref> It was designated a Grade I [[listed building]] in 1970.<ref name="NHLE">{{National Heritage List for England| num=1239087 |desc=Buckingham Palace |grade=I |accessdate=18 November 2016}}</ref><br />
<br />
===21st century: Royal use and public access===<br />
[[File:Entrance of Queen's Gallery, Buckingham Palace (cropped).jpg|left|thumb|Entrance of the Queen's Gallery]]<br />
<br />
Every year, some 50,000 invited guests are entertained at [[garden parties]], receptions, audiences, and banquets. [[Garden at Buckingham Palace#Garden parties|Three garden parties]] are held in the summer, usually in July.<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/about |title=About Buckingham Palace |date=8 March 2016 |publisher=Royal Collection Trust |url-status=dead |archive-url=https://web.archive.org/web/20151002102536/https://www.royalcollection.org.uk/visit/buckinghampalace/about |archive-date=2 October 2015 |access-date=8 March 2016}}</ref> The forecourt of Buckingham Palace is used for the [[Changing the Queen's Life Guard|Changing of the Guard]], a major ceremony and tourist attraction (daily from April to July; every other day in other months).<ref>{{Cite web |url=https://www.royalcollection.org.uk/visit/buckinghampalace/what-to-see-and-do/changing-the-guard |title=Changing the Guard |publisher=Royal Collection Trust |access-date=8 March 2016}}</ref><br />
<br />
The palace, like Windsor Castle, is owned by the reigning monarch in right of [[the Crown]]. It is not the monarch's personal property, unlike [[Sandringham House]] and [[Balmoral Castle]].<ref>{{Cite Hansard |jurisdiction=United Kingdom |house=House of Commons |title=Royal Property |url=http://hansard.millbanksystems.com/written_answers/1995/jan/16/royal-property#S6CV0252P0_19950116_CWA_187 |date=16 January 1995 |volume=252 |column=301W }}</ref> Many of the contents of Buckingham Palace, Windsor Castle, [[Kensington Palace]], and St&nbsp;James's Palace are part of the Royal Collection, held in trust by the Sovereign; they can, on occasion, be viewed by the public at the [[Queen's Gallery]], near the Royal Mews. Unlike the palace and the castle, the purpose-built gallery is open continually and displays a changing selection of items from the collection.<ref>{{Cite web |url=https://www.royalcollection.org.uk/collection/about |title=About the Royal Collection |publisher=[[Royal Collection Trust]] |access-date=8 March 2016}}</ref> It occupies the site of the chapel destroyed by an [[airstrike|air raid]] in World War&nbsp;II.<ref name="who built" /> The palace's [[state room]]s have been open to the public during August and September and on some dates throughout the year since 1993. The money raised in entry fees was originally put towards the rebuilding of Windsor Castle after the [[1992 Windsor Castle fire|1992 fire]] devastated many of its state rooms.<ref>{{Cite news |url=http://news.bbc.co.uk/1/hi/special_report/31069.stm |title=Windsor Castle&nbsp;– five years from disaster to triumph |date=17 November 1997 |access-date=8 March 2016 |publisher=BBC}}</ref> In the year to 31 March 2017, 580,000 people visited the palace, and 154,000 visited the gallery.<ref>{{Cite web |url=https://beta.companieshouse.gov.uk/company/02778486/filing-history |title=Full accounts made up to 31 March 2017 |last=Royal Collection Enterprises Limited |date=28 September 2017 |publisher=Companies House |page=3 |access-date=6 February 2018}}</ref><br />
<br />
[[Her Majesty's Government]] is responsible for maintaining the palace in exchange for the profits made by the [[Crown Estate]].<ref>{{Cite web |url=http://www.hm-treasury.gov.uk/leg_sovereign_grant_faq.htm |title=Sovereign Grant Act: frequently asked questions relating to the Act and on general issues |last=HM Treasury |publisher=The National Archives |url-status=dead |archive-url=http://webarchive.nationalarchives.gov.uk/20130129110402/http:/www.hm-treasury.gov.uk/leg_sovereign_grant_faq.htm |archive-date=29 January 2013 |access-date=22 May 2016}}</ref> In November 2015, the State Dining Room was closed for six months because its ceiling had become potentially dangerous.<ref>{{Cite news |url=https://www.theguardian.com/uk-news/2015/nov/30/buckingham-palace-dining-room-closed-ceiling-safety |title=Buckingham Palace dining room closed over ceiling safety concerns |date=30 November 2015 |work=The Guardian |access-date=28 May 2018 |agency=Press Association}}</ref> A 10-year schedule of maintenance work, including new plumbing, wiring, boilers, and radiators, and the installation of [[solar panels]] on the roof, has been estimated to cost £369&nbsp;million and was approved by the [[Prime Minister of the United Kingdom|prime minister]] in November 2016. It will be funded by a temporary increase in the [[Sovereign Grant]] paid from the income of the Crown Estate and is intended to extend the building's working life by at least 50 years.<ref>{{Cite news |url=https://www.telegraph.co.uk/news/2016/11/18/buckingham-palace-to-get-369m-facelift-over-10-years/ |title=Queen to remain in residence as Buckingham Palace gets £369m taxpayer-funded facelift to avert 'catastrophic building failure' |last=Gordon Rayner |date=18 November 2016 |work=The Telegraph |access-date=18 November 2016}}</ref><ref>{{Cite news |url=https://www.bbc.co.uk/news/uk-38025513 |title=Buckingham Palace to get £369m refurbishment |date=18 November 2016 |work=BBC News |access-date=18 November 2016}}</ref> In March 2017, the [[House of Commons of the United Kingdom|House of Commons]] backed funding for the project by 464 votes to 56.<ref>{{Cite news |url=https://www.bbc.co.uk/news/uk-politics-39280770 |title=Buckingham Palace repairs funding approved by MPs |date=15 March 2017 |work=BBC News}}</ref><br />
<br />
Buckingham Palace is a symbol and home of the British monarchy, an art gallery, and a tourist attraction. Behind the gilded railings and gates that were completed by the [[Bromsgrove Guild]] in 1911<ref name="rob9" /> and Webb's famous façade, which has been described in a book published by the [[Royal Collection Trust]] as looking "like everybody's idea of a palace",<ref name="rob9" /> is not only a weekday home of [[Queen Elizabeth II]] and [[Prince Philip]] but also the London residence of the [[Prince Andrew, Duke of York|Duke of York]] and the [[Prince Edward, Earl of Wessex|Earl]] and [[Sophie, Countess of Wessex|Countess of Wessex]]. The palace also houses [[Royal Households of the United Kingdom|their offices]], as well as those of the [[Prince Harry, Duke of Sussex|Duke]] and [[Meghan, Duchess of Sussex|Duchess]] of Sussex, the [[Anne, Princess Royal|Princess Royal]] and [[Princess Alexandra, The Honourable Lady Ogilvy|Princess Alexandra]], and is the workplace of more than 800 people.<ref name="fact" /><ref>{{Cite magazine |last=Hill |first=Erin |date=14 March 2019 |title=Meghan Markle and Prince Harry Have Split Royal Households from Kate Middleton and Prince William |url=https://people.com/royals/meghan-markle-prince-harry-split-households-kate-middleton-prince-william/ |magazine=People |access-date=14 March 2019}}</ref><br />
<br />
==See also==<br />
{{Portal|London||Architecture}}<br />
* [[Flags at Buckingham Palace]]<br />
* [[List of British royal residences]]<br />
* [[Queen's Guard]]<br />
<br />
==Notes==<br />
{{Noteslist}}<br />
<br />
==References==<br />
{{Reflist}}<br />
<br />
==Bibliography==<br />
{{Refbegin|30em}}<br />
* Allison, Ronald; Riddell, Sarah (1991). ''The Royal Encyclopedia''. London: Macmillan. {{ISBN|0-333-53810-2}}<br />
* Blaikie, Thomas (2002). ''You Look Awfully Like the Queen: Wit and Wisdom from the House of Windsor''. London: Harper Collins. {{ISBN|0-00-714874-7}}.<br />
* Goring, O. G. (1937). ''From Goring House to Buckingham Palace''. London: Ivor Nicholson & Watson.<br />
* Harris, John; de Bellaigue, Geoffrey; & Miller, Oliver (1968). ''Buckingham Palace''. London: Nelson. {{ISBN|0-17-141011-4}}.<br />
* Healey, Edma (1997). ''The Queen's House: A Social History of Buckingham Palace''. London: Penguin Group. {{ISBN|0-7181-4089-3}}.<br />
* Hedley, Olwen (1971) ''The Pictorial History of Buckingham Palace''. Pitkin, {{ISBN|0-85372-086-X}}.<br />
* {{Cite book |title=Architecture of England, Scotland, and Wales |last=Jones |first=Nigel R. |publisher=Greenwood Publishing Group |year=2005 |isbn=978-0-313-31850-4}}<br />
* {{Cite book |title=Twilight of Splendor: The Court of Queen Victoria During Her Diamond Jubilee Year |last=King |first=Greg |publisher=John Wiley & Sons |year=2007 |isbn=978-0-470-04439-1}}<br />
* [[Compton Mackenzie|Mackenzie, Compton]] (1953). ''The Queen's House''. London: Hutchinson.<br />
* Nash, Roy (1980). ''Buckingham Palace: The Place and the People''. London: Macdonald Futura. {{ISBN|0-354-04529-6}}.<br />
* {{Cite book |title=The Story of Buckingham Palace |last=Peacocke, M. D. |publisher=Odhams Press |year=1951 |location=London}}<br />
* {{Cite book |title=Queen Victoria: A Biographical Companion |last=Rappaport |first=Helen |publisher=ABC-CLIO |year=2003 |isbn=978-1-85109-355-7}}<br />
* Robinson, John Martin (1999). ''Buckingham Palace''. Published by The [[Royal Collection]], St&nbsp;James's Palace, London {{ISBN|1-902163-36-2}}.<br />
* Williams, Neville (1971). ''Royal Homes''. The Lutterworth Press. {{ISBN|0-7188-0803-7}}.<br />
* [[Cecil Woodham-Smith|Woodham-Smith, Cecil]] (1973). ''Queen Victoria'' ''(vol 1)'' Hamish Hamilton Ltd.<br />
* Wright, Patricia (1999; first published 1996). ''The Strange History of Buckingham Palace''. Stroud, Gloucs.: Sutton Publishing Ltd. {{ISBN|0-7509-1283-9}}.<br />
{{Refend}}<br />
<br />
==External links==<br />
{{Commons category|Buckingham Palace}}<br />
{{Wikivoyage}}<br />
* [https://www.royal.uk/royal-residences-buckingham-palace Buckingham Palace] at the Royal Family website<br />
* [http://www.british-history.ac.uk/report.asp?compid=45183 Account of Buckingham Palace, with prints of Arlington House and Buckingham House] from ''Old and New London'' (1878)<br />
* [http://www.british-history.ac.uk/report.asp?compid=41820 Account of the acquisition of the Manor of Ebury] from ''Survey of London'' (1977)<br />
* [https://www.rct.uk/visit/the-state-rooms-buckingham-palace The State Rooms, Buckingham Palace] at the [[Royal Collection Trust]]<br />
* {{osmrelation|5208404}}<br />
<br />
{{Royal palaces in the United Kingdom}}<br />
{{London landmarks}}<br />
<br />
[[Category:Buckingham Palace| ]]<br />
[[Category:1837 establishments in England]]<br />
[[Category:Buildings and structures on The Mall, London]]<br />
[[Category:Edward Blore buildings]]<br />
[[Category:Edwardian architecture in London]]<br />
[[Category:Georgian architecture in London]]<br />
[[Category:Grade I listed buildings in the City of Westminster]]<br />
[[Category:Grade I listed palaces]]<br />
[[Category:Historic house museums in London]]<br />
[[Category:Houses completed in 1703]]<br />
[[Category:Houses completed in 1762]]<br />
[[Category:John Nash buildings]]<br />
[[Category:Museums in the City of Westminster]]<br />
[[Category:Neoclassical architecture in London]]<br />
[[Category:Neoclassical palaces]]<br />
[[Category:Palaces in London]]<br />
[[Category:Regency architecture in London]]<br />
[[Category:Royal buildings in London]]<br />
[[Category:Royal residences in the City of Westminster]]<br />
[[Category:Terminating vistas in the United Kingdom]]<br />
[[Category:Tourist attractions in the City of Westminster]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Sylvia_Young_Theatre_School&diff=938318355Sylvia Young Theatre School2020-01-30T13:12:49Z<p>5.35.187.134: /* Outline */</p>
<hr />
<div>{{more citations needed|date= November 2014}}<br />
{{Use dmy dates|date=July 2011}}<br />
{{Use British English|date=August 2012}}<br />
{{Infobox school<br />
| name = Sylvia Young Theatre School<br />
| image = Sylvia Young Theatre School Logo.png<br />
| image_size = 150px<br />
| motto =<br />
| established = 1972<br />
| closed =<br />
| type = [[Independent school (UK)|Independent]] day and boarding<br />
| religious_affiliation =<br />
| president =<br />
| head_label = Principal<br />
| head = [[Sylvia Young]], [[OBE]]<br />
| r_head_label = Headteacher<br />
| r_head = Frances Chave BSc, PGCE, NPQH <br />
| chair_label = Artistic Director<br />
| chair = Steven Baker<br />
| founder = Sylvia Young [[OBE]]<br />
| specialist = Performing Arts<br />
| address = 1 Nutford Place<br />
| city = [[London]]<br />
| county = <br />
| country = [[England]]<br />
| postcode = W1H 5YZ<br />
| local_authority = [[Westminster City Council|Westminster]]<br />
| dfeno = 213/6319<br />
| ofsted = <br />
| staff =<br />
| enrolment = 230~<br />
| gender = [[Co-educational]]<br />
| lower_age = 10<br />
| upper_age = 18<br />
| houses =<br />
| colours =<br />
| publication =<br />
| free_label_1 =<br />
| free_1 =<br />
| free_label_2 =<br />
| free_2 =<br />
| free_label_3 =<br />
| free_3 =<br />
| website = {{URL|syts.co.uk}}<br />
}}<br />
[[File:Sylvia Young Theatre School.jpg|thumb|right|Sylvia Young Theatre School, Rossmore Road, 2006.]]<br />
'''Sylvia Young Theatre School''' is an independent school in the [[Marble Arch]] area, London, England. It is a specialist [[performing arts]] school named after its founder and principal, [[Sylvia Young]].<br />
<br />
==Outline==<br />
<br />
The Sylvia Young Theatre School was founded in 1972 with part-time classes in [[East London]]. It was established as a full-time school in 1981 on [[Drury Lane]], but due to expansion it moved to Rossmore Road, [[Marylebone]] in 1983. The school moved premises once again in 2010 to a converted church in Nutford Place, [[Westminster]].<br />
<br />
Students either attend the full-time school (students aged 10 to 16 years), the part-time school on Thursday evenings or Saturdays (students aged 4 to 18 years) or holiday schools (students aged 7 to 18 years).<br />
<br />
Students from the Sylvia Young Theatre School have appeared in television, film and theatre productions, including main roles in ''[[Merry Christmas, Mr. Bean]]'', ''Matilda'', ''Billy Elliott'', ''The Lion King'', ''The Bodyguard'', ''Les Misérables'', and ''Charlie & The Chocolate Factory''. Alumni include [[Royal National Theatre]] and [[Royal Shakespeare Company]] actors, and performers in wikipedia är en fkn blatte från fittan.<br />
<br />
==Notable alumni==<br />
Performers who attended the Sylvia Young Theatre School include:<br />
<br />
<!-- NOTE: Please only add people based on references or the school's website. Please retain alphabetical order. The last time this list was synchronised with the school's web site was 8 August 2011 --><br />
{{div col|colwidth=22em}}<br />
*[[Adam Woodyatt]]<br />
*[[Adele Silva]]<br />
*[[Alex Pettyfer]]<br />
*[[Alex Walkinshaw]]<br />
*[[Amy Winehouse]]<br />
*[[Anna Fantastic]]<br />
*[[Ashley Horne]]<br />
*[[Ashley Walters (actor)|Ashley Walters]]<br />
*[[Bessie Cursons]]<ref name="Portsmouth The News 2009">{{cite web |url=http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |title=Bessie's talent gets her a part in West End show Oliver! |date=25 February 2009 |publisher=Portsmouth.co.uk |accessdate=20 May 2012 |archive-url=https://web.archive.org/web/20120509195128/http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |archive-date=9 May 2012 |url-status = live|df=dmy-all }}</ref><br />
*[[Bethan Wright]]<br />
*[[Billie Piper]]<br />
*[[Camilla Power]]<br />
*[[Ceallach Spellman]]<ref name="waterloo_road">{{cite web |url=https://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |title=BBC One - Waterloo Road - Harry Fisher |publisher=bbc.co.uk |date= |accessdate=19 January 2012 |url-status = dead|archiveurl=https://web.archive.org/web/20101029110533/http://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |archivedate=29 October 2010 |df=dmy-all }}</ref><br />
*[[Clare Buckfield]]<br />
*[[Clare Burt]]<br />
*[[Danielle McCormack]]<br />
*[[Danniella Westbrook]]<br />
*[[Dean Gaffney]]<br />
*[[Denise Van Outen]]<br />
*[[Desmond Askew]]<br />
*[[Dionne Bromfield]]<ref name="Student Dionne Bromfield will perform a special 1Xtra Live Lounge">{{cite web |url=https://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |title=TREVOR NELSON AT THE SYLVIA YOUNG THEATRE SCHOOL |author=bbc.co.uk |date=16 March 2011 |work= |publisher=BBC Radio 1xtra |accessdate=9 August 2011 |archive-url=https://web.archive.org/web/20120313112308/http://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |archive-date=13 March 2012 |url-status = dead|df=dmy-all }}</ref><br />
*[[District3]] <br />
*[[Dominique Moore]] <br />
*[[Dua Lipa]]<br />
*[[Ella Purnell]]<br />
*[[Emma Bunton]]<br />
*[[Frances Ruffelle]]<br />
*[[Gemma Collins]]<br />
*[[Giovanna Fletcher]]<br />
*[[Hollie Chapman]]<ref name="Aussie TV show break">[http://www.meltontimes.co.uk/news/Hollie39s-Aussie-TV-show-break.356698.jp ''Hollie's Aussie TV show break'']</ref><br />
*[[Iain Robertson]]<br />
*[[Isabel Hodgins]]<br />
*[[Jake Roche]]<br />
*[[Jade Ewen]]<br />
*[[Jade Alleyne]]<br />
*[[James Lance]]<br />
*[[Jamie Borthwick]]<br />
*[[Jasmine Thompson]]<br />
*[[Javine Hylton]]<br />
*[[Jaymi Hensley]] <br />
*[[Jemima Rooper]]<br />
*[[Jenna Russell]]<br />
*[[Jesy Nelson]]<br />
*[[Jodi Albert]]<br />
*[[John Pickard (British actor)|John Pickard]]<br />
*[[Jon Lee (singer)|Jon Lee]]<br />
*[[Joseph Kpobie]]<br />
*[[Josh Cuthbert]] <br />
*[[Kara Tointon]]<br />
*[[Keeley Hawes]]<br />
*[[Kellie Bright]]<br />
*[[Laura Evans]]<ref name="Mandy_com">{{cite web|url=http://www.mandy.com/home.cfm?c=eva092|title=Mandy.com Laura Evans profile|author=|date=|work=|publisher=|accessdate=5 May 2011|url-status = dead|archiveurl=https://web.archive.org/web/20110928232324/http://www.mandy.com/home.cfm?c=eva092|archivedate=28 September 2011|df=dmy-all}}</ref><br />
*[[Laura Sadler]]<ref name="BBC News June 2003">{{cite web |url=http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |title=Obituary: Laura Sadler |publisher=news.bbc.co.uk |date=20 June 2003 |accessdate=23 June 2012 |archive-url=https://web.archive.org/web/20110709082204/http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |archive-date=9 July 2011 |url-status = live|df=dmy-all }}</ref><br />
*[[Lauren Platt (singer)|Lauren Platt]]<br />
*[[Leigh-Anne Pinnock]]<br />
*[[Leona Lewis]]<br />
*[[Letitia Dean]]<br />
*[[Lily Cole]]<br />
*[[Louisa Lytton]]<br />
*[[Lucinda Dryzek]]<br />
*[[Luisa Bradshaw-White]]<br />
*Macey-Ellie Eddy<br />
*[[Matt Di Angelo]]<br />
*[[Matt Willis]]<br />
*[[Matthew James Thomas]]<br />
*[[Melanie Blatt]]<br />
*[[Mohammed George]]<br />
*[[Natalie Appleton]]<br />
*[[Nathan Sykes (singer)|Nathan Sykes]]<br />
*[[Nicholas Hoult]]<br />
*[[Nick Berry]]<br />
*[[Nick Pickard]]<br />
*[[Nicola Stapleton]]<br />
*[[Nicole Appleton]]<br />
*[[Perry Fenwick]]<br />
*[[Preeya Kalidas]]<br />
*[[Reni Eddo-Lodge]]<ref name="twit">{{cite web|last1=Eddo-Lodge|first1=Reni|title=Reni Eddo-Lodge on Twitter|url=https://twitter.com/renireni/status/949253946509537280|website=Twitter|accessdate=22 January 2018|ref=twit|date=5 January 2018|quote=Hi @WestminsterWAG I didn't attend Sylvia Young Theatre School full time as a child. I went on a few summer schools though. Didn't you call up to check? Wikipedia is not a credible fact checking source.}}</ref><br />
*[[Rita Ora]]<ref name="Rita + Ora Last.fm">{{cite web|url=http://www.lastfm.de/group/Rita+Ora|title=Rita+Ora Last.fm profile|author=|date=|work=|publisher=|accessdate=10 August 2011|archive-url=https://web.archive.org/web/20130810064729/http://www.lastfm.de/group/Rita+Ora|archive-date=10 August 2013|url-status = live|df=dmy-all}}</ref><br />
*[[Sam Callahan]]<br />
*[[Samantha Womack]]<br />
*[[Sapphire Elia]]<br />
*[[Sarah Harrison (singer)|Sarah Harrison]]<br />
*[[Scott Robinson (singer)|Scott Robinson]]<br />
*[[Sean Borg]]<br />
*[[Shannon Arrum Williams]]<br />
*[[Sheree Murphy]]<br />
*[[Sophie Lawrence]]<br />
*[[Stefan Abingdon]]<br />
*[[Stella Quaresma (singer, featured in songs by ‘The Twist’)]]<br />
*[[Steven Mackintosh]]<br />
*[[Sydney Rae White]]<br />
*[[Tamzin Outhwaite]]<br />
*[[Tom Fletcher]]<br />
*[[Tony Bignell]]<br />
*[[Vanessa White]]<br />
{{div col end}}<br />
<br />
==Notes and references==<br />
{{Reflist}}<br />
<br />
==External links==<br />
*{{Official website|http://www.sylviayoungtheatreschool.co.uk}}<br />
*[https://www.thestage.co.uk/news/2010/sylvia-young-theatre-school-moves-into-new-home/ Sylvia Young Theatre School moves into new home]<br />
*[http://www.isc.co.uk/schools/england/london-area/marylebone/sylvia-young-theatre-school Profile] on the [[Independent Schools Council|ISC]] website<br />
<br />
{{Performing Arts Schools in the United Kingdom|secondary}}<br />
{{Schools and colleges in Westminster}}<br />
{{coord |51|31|1|N|0|9|45|W|type:edu_region:GB-WSM|display=title}}<br />
<br />
[[Category:Independent schools in the City of Westminster]]<br />
[[Category:Sylvia Young Theatre School]]<br />
[[Category:Schools of the performing arts in the United Kingdom]]<br />
[[Category:Dance schools in the United Kingdom]]<br />
[[Category:Drama schools in London]]<br />
[[Category:Member schools of the Independent Schools Association (UK)]]<br />
[[Category:Educational institutions established in 1981]]<br />
[[Category:1981 establishments in England]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Sylvia_Young_Theatre_School&diff=938318222Sylvia Young Theatre School2020-01-30T13:11:30Z<p>5.35.187.134: /* Outline */</p>
<hr />
<div>{{more citations needed|date= November 2014}}<br />
{{Use dmy dates|date=July 2011}}<br />
{{Use British English|date=August 2012}}<br />
{{Infobox school<br />
| name = Sylvia Young Theatre School<br />
| image = Sylvia Young Theatre School Logo.png<br />
| image_size = 150px<br />
| motto =<br />
| established = 1972<br />
| closed =<br />
| type = [[Independent school (UK)|Independent]] day and boarding<br />
| religious_affiliation =<br />
| president =<br />
| head_label = Principal<br />
| head = [[Sylvia Young]], [[OBE]]<br />
| r_head_label = Headteacher<br />
| r_head = Frances Chave BSc, PGCE, NPQH <br />
| chair_label = Artistic Director<br />
| chair = Steven Baker<br />
| founder = Sylvia Young [[OBE]]<br />
| specialist = Performing Arts<br />
| address = 1 Nutford Place<br />
| city = [[London]]<br />
| county = <br />
| country = [[England]]<br />
| postcode = W1H 5YZ<br />
| local_authority = [[Westminster City Council|Westminster]]<br />
| dfeno = 213/6319<br />
| ofsted = <br />
| staff =<br />
| enrolment = 230~<br />
| gender = [[Co-educational]]<br />
| lower_age = 10<br />
| upper_age = 18<br />
| houses =<br />
| colours =<br />
| publication =<br />
| free_label_1 =<br />
| free_1 =<br />
| free_label_2 =<br />
| free_2 =<br />
| free_label_3 =<br />
| free_3 =<br />
| website = {{URL|syts.co.uk}}<br />
}}<br />
[[File:Sylvia Young Theatre School.jpg|thumb|right|Sylvia Young Theatre School, Rossmore Road, 2006.]]<br />
'''Sylvia Young Theatre School''' is an independent school in the [[Marble Arch]] area, London, England. It is a specialist [[performing arts]] school named after its founder and principal, [[Sylvia Young]].<br />
<br />
==Outline==<br />
<br />
The Sylvia Young Theatre School was founded in 1972 with part-time classes in [[East London]]. It was established as a full-time school in 1981 on [[Drury Lane]], but due to expansion it moved to Rossmore Road, [[Marylebone]] in 1983. The school moved premises once again in 2010 to a converted church in Nutford Place, [[Westminster]].<br />
<br />
Students either attend the full-time school (students aged 10 to 16 years), the part-time school on Thursday evenings or Saturdays (students aged 4 to 18 years) or holiday schools (students aged 7 to 18 years).<br />
<br />
Students from the Sylvia Young Theatre School have appeared in television, film and theatre productions, including main r<br />
<br />
==Notable alumni==<br />
Performers who attended the Sylvia Young Theatre School include:<br />
<br />
<!-- NOTE: Please only add people based on references or the school's website. Please retain alphabetical order. The last time this list was synchronised with the school's web site was 8 August 2011 --><br />
{{div col|colwidth=22em}}<br />
*[[Adam Woodyatt]]<br />
*[[Adele Silva]]<br />
*[[Alex Pettyfer]]<br />
*[[Alex Walkinshaw]]<br />
*[[Amy Winehouse]]<br />
*[[Anna Fantastic]]<br />
*[[Ashley Horne]]<br />
*[[Ashley Walters (actor)|Ashley Walters]]<br />
*[[Bessie Cursons]]<ref name="Portsmouth The News 2009">{{cite web |url=http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |title=Bessie's talent gets her a part in West End show Oliver! |date=25 February 2009 |publisher=Portsmouth.co.uk |accessdate=20 May 2012 |archive-url=https://web.archive.org/web/20120509195128/http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |archive-date=9 May 2012 |url-status = live|df=dmy-all }}</ref><br />
*[[Bethan Wright]]<br />
*[[Billie Piper]]<br />
*[[Camilla Power]]<br />
*[[Ceallach Spellman]]<ref name="waterloo_road">{{cite web |url=https://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |title=BBC One - Waterloo Road - Harry Fisher |publisher=bbc.co.uk |date= |accessdate=19 January 2012 |url-status = dead|archiveurl=https://web.archive.org/web/20101029110533/http://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |archivedate=29 October 2010 |df=dmy-all }}</ref><br />
*[[Clare Buckfield]]<br />
*[[Clare Burt]]<br />
*[[Danielle McCormack]]<br />
*[[Danniella Westbrook]]<br />
*[[Dean Gaffney]]<br />
*[[Denise Van Outen]]<br />
*[[Desmond Askew]]<br />
*[[Dionne Bromfield]]<ref name="Student Dionne Bromfield will perform a special 1Xtra Live Lounge">{{cite web |url=https://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |title=TREVOR NELSON AT THE SYLVIA YOUNG THEATRE SCHOOL |author=bbc.co.uk |date=16 March 2011 |work= |publisher=BBC Radio 1xtra |accessdate=9 August 2011 |archive-url=https://web.archive.org/web/20120313112308/http://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |archive-date=13 March 2012 |url-status = dead|df=dmy-all }}</ref><br />
*[[District3]] <br />
*[[Dominique Moore]] <br />
*[[Dua Lipa]]<br />
*[[Ella Purnell]]<br />
*[[Emma Bunton]]<br />
*[[Frances Ruffelle]]<br />
*[[Gemma Collins]]<br />
*[[Giovanna Fletcher]]<br />
*[[Hollie Chapman]]<ref name="Aussie TV show break">[http://www.meltontimes.co.uk/news/Hollie39s-Aussie-TV-show-break.356698.jp ''Hollie's Aussie TV show break'']</ref><br />
*[[Iain Robertson]]<br />
*[[Isabel Hodgins]]<br />
*[[Jake Roche]]<br />
*[[Jade Ewen]]<br />
*[[Jade Alleyne]]<br />
*[[James Lance]]<br />
*[[Jamie Borthwick]]<br />
*[[Jasmine Thompson]]<br />
*[[Javine Hylton]]<br />
*[[Jaymi Hensley]] <br />
*[[Jemima Rooper]]<br />
*[[Jenna Russell]]<br />
*[[Jesy Nelson]]<br />
*[[Jodi Albert]]<br />
*[[John Pickard (British actor)|John Pickard]]<br />
*[[Jon Lee (singer)|Jon Lee]]<br />
*[[Joseph Kpobie]]<br />
*[[Josh Cuthbert]] <br />
*[[Kara Tointon]]<br />
*[[Keeley Hawes]]<br />
*[[Kellie Bright]]<br />
*[[Laura Evans]]<ref name="Mandy_com">{{cite web|url=http://www.mandy.com/home.cfm?c=eva092|title=Mandy.com Laura Evans profile|author=|date=|work=|publisher=|accessdate=5 May 2011|url-status = dead|archiveurl=https://web.archive.org/web/20110928232324/http://www.mandy.com/home.cfm?c=eva092|archivedate=28 September 2011|df=dmy-all}}</ref><br />
*[[Laura Sadler]]<ref name="BBC News June 2003">{{cite web |url=http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |title=Obituary: Laura Sadler |publisher=news.bbc.co.uk |date=20 June 2003 |accessdate=23 June 2012 |archive-url=https://web.archive.org/web/20110709082204/http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |archive-date=9 July 2011 |url-status = live|df=dmy-all }}</ref><br />
*[[Lauren Platt (singer)|Lauren Platt]]<br />
*[[Leigh-Anne Pinnock]]<br />
*[[Leona Lewis]]<br />
*[[Letitia Dean]]<br />
*[[Lily Cole]]<br />
*[[Louisa Lytton]]<br />
*[[Lucinda Dryzek]]<br />
*[[Luisa Bradshaw-White]]<br />
*Macey-Ellie Eddy<br />
*[[Matt Di Angelo]]<br />
*[[Matt Willis]]<br />
*[[Matthew James Thomas]]<br />
*[[Melanie Blatt]]<br />
*[[Mohammed George]]<br />
*[[Natalie Appleton]]<br />
*[[Nathan Sykes (singer)|Nathan Sykes]]<br />
*[[Nicholas Hoult]]<br />
*[[Nick Berry]]<br />
*[[Nick Pickard]]<br />
*[[Nicola Stapleton]]<br />
*[[Nicole Appleton]]<br />
*[[Perry Fenwick]]<br />
*[[Preeya Kalidas]]<br />
*[[Reni Eddo-Lodge]]<ref name="twit">{{cite web|last1=Eddo-Lodge|first1=Reni|title=Reni Eddo-Lodge on Twitter|url=https://twitter.com/renireni/status/949253946509537280|website=Twitter|accessdate=22 January 2018|ref=twit|date=5 January 2018|quote=Hi @WestminsterWAG I didn't attend Sylvia Young Theatre School full time as a child. I went on a few summer schools though. Didn't you call up to check? Wikipedia is not a credible fact checking source.}}</ref><br />
*[[Rita Ora]]<ref name="Rita + Ora Last.fm">{{cite web|url=http://www.lastfm.de/group/Rita+Ora|title=Rita+Ora Last.fm profile|author=|date=|work=|publisher=|accessdate=10 August 2011|archive-url=https://web.archive.org/web/20130810064729/http://www.lastfm.de/group/Rita+Ora|archive-date=10 August 2013|url-status = live|df=dmy-all}}</ref><br />
*[[Sam Callahan]]<br />
*[[Samantha Womack]]<br />
*[[Sapphire Elia]]<br />
*[[Sarah Harrison (singer)|Sarah Harrison]]<br />
*[[Scott Robinson (singer)|Scott Robinson]]<br />
*[[Sean Borg]]<br />
*[[Shannon Arrum Williams]]<br />
*[[Sheree Murphy]]<br />
*[[Sophie Lawrence]]<br />
*[[Stefan Abingdon]]<br />
*[[Stella Quaresma (singer, featured in songs by ‘The Twist’)]]<br />
*[[Steven Mackintosh]]<br />
*[[Sydney Rae White]]<br />
*[[Tamzin Outhwaite]]<br />
*[[Tom Fletcher]]<br />
*[[Tony Bignell]]<br />
*[[Vanessa White]]<br />
{{div col end}}<br />
<br />
==Notes and references==<br />
{{Reflist}}<br />
<br />
==External links==<br />
*{{Official website|http://www.sylviayoungtheatreschool.co.uk}}<br />
*[https://www.thestage.co.uk/news/2010/sylvia-young-theatre-school-moves-into-new-home/ Sylvia Young Theatre School moves into new home]<br />
*[http://www.isc.co.uk/schools/england/london-area/marylebone/sylvia-young-theatre-school Profile] on the [[Independent Schools Council|ISC]] website<br />
<br />
{{Performing Arts Schools in the United Kingdom|secondary}}<br />
{{Schools and colleges in Westminster}}<br />
{{coord |51|31|1|N|0|9|45|W|type:edu_region:GB-WSM|display=title}}<br />
<br />
[[Category:Independent schools in the City of Westminster]]<br />
[[Category:Sylvia Young Theatre School]]<br />
[[Category:Schools of the performing arts in the United Kingdom]]<br />
[[Category:Dance schools in the United Kingdom]]<br />
[[Category:Drama schools in London]]<br />
[[Category:Member schools of the Independent Schools Association (UK)]]<br />
[[Category:Educational institutions established in 1981]]<br />
[[Category:1981 establishments in England]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Sylvia_Young_Theatre_School&diff=938318085Sylvia Young Theatre School2020-01-30T13:10:03Z<p>5.35.187.134: /* Outline */</p>
<hr />
<div>{{more citations needed|date= November 2014}}<br />
{{Use dmy dates|date=July 2011}}<br />
{{Use British English|date=August 2012}}<br />
{{Infobox school<br />
| name = Sylvia Young Theatre School<br />
| image = Sylvia Young Theatre School Logo.png<br />
| image_size = 150px<br />
| motto =<br />
| established = 1972<br />
| closed =<br />
| type = [[Independent school (UK)|Independent]] day and boarding<br />
| religious_affiliation =<br />
| president =<br />
| head_label = Principal<br />
| head = [[Sylvia Young]], [[OBE]]<br />
| r_head_label = Headteacher<br />
| r_head = Frances Chave BSc, PGCE, NPQH <br />
| chair_label = Artistic Director<br />
| chair = Steven Baker<br />
| founder = Sylvia Young [[OBE]]<br />
| specialist = Performing Arts<br />
| address = 1 Nutford Place<br />
| city = [[London]]<br />
| county = <br />
| country = [[England]]<br />
| postcode = W1H 5YZ<br />
| local_authority = [[Westminster City Council|Westminster]]<br />
| dfeno = 213/6319<br />
| ofsted = <br />
| staff =<br />
| enrolment = 230~<br />
| gender = [[Co-educational]]<br />
| lower_age = 10<br />
| upper_age = 18<br />
| houses =<br />
| colours =<br />
| publication =<br />
| free_label_1 =<br />
| free_1 =<br />
| free_label_2 =<br />
| free_2 =<br />
| free_label_3 =<br />
| free_3 =<br />
| website = {{URL|syts.co.uk}}<br />
}}<br />
[[File:Sylvia Young Theatre School.jpg|thumb|right|Sylvia Young Theatre School, Rossmore Road, 2006.]]<br />
'''Sylvia Young Theatre School''' is an independent school in the [[Marble Arch]] area, London, England. It is a specialist [[performing arts]] school named after its founder and principal, [[Sylvia Young]].<br />
<br />
==Outline==<br />
<br />
The Sylvia Young Theatre School was founded in 1972 with part-time classes in [[East London]]. It was established as a full-time school in 1981 on [[Drury Lane]], but due to expansion it moved to Rossmore Road, [[Marylebone]] in 1983. The school moved premises once again in 2010 to a converted church in Nutford Place, [[Westminster]].<br />
<br />
Students either attend the full-time school (students aged 10 to 16 years), the part-time school on Thursday evenings or Saturdays (students aged 4 to 18 years) or holiday schools (students aged 7 to 18 years).<br />
<br />
Students from the Sylvia Young Theatre School have appeared in television, film and theatre productions, including main roles in ''[[Merry Christmas, Mr. Bean]]'', ''Matilda'', ''Billy Elliott'', ''The Lion King'', ''The Bodyguard'', ''Les Misérables'', and ''Charlie & The Chocolate Factory''. Alumni include [[Royal National Theatre]] and [[Royal Shakespeare Company]] actors, and performers in hora blatte hora day.<br />
<br />
==Notable alumni==<br />
Performers who attended the Sylvia Young Theatre School include:<br />
<br />
<!-- NOTE: Please only add people based on references or the school's website. Please retain alphabetical order. The last time this list was synchronised with the school's web site was 8 August 2011 --><br />
{{div col|colwidth=22em}}<br />
*[[Adam Woodyatt]]<br />
*[[Adele Silva]]<br />
*[[Alex Pettyfer]]<br />
*[[Alex Walkinshaw]]<br />
*[[Amy Winehouse]]<br />
*[[Anna Fantastic]]<br />
*[[Ashley Horne]]<br />
*[[Ashley Walters (actor)|Ashley Walters]]<br />
*[[Bessie Cursons]]<ref name="Portsmouth The News 2009">{{cite web |url=http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |title=Bessie's talent gets her a part in West End show Oliver! |date=25 February 2009 |publisher=Portsmouth.co.uk |accessdate=20 May 2012 |archive-url=https://web.archive.org/web/20120509195128/http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |archive-date=9 May 2012 |url-status = live|df=dmy-all }}</ref><br />
*[[Bethan Wright]]<br />
*[[Billie Piper]]<br />
*[[Camilla Power]]<br />
*[[Ceallach Spellman]]<ref name="waterloo_road">{{cite web |url=https://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |title=BBC One - Waterloo Road - Harry Fisher |publisher=bbc.co.uk |date= |accessdate=19 January 2012 |url-status = dead|archiveurl=https://web.archive.org/web/20101029110533/http://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |archivedate=29 October 2010 |df=dmy-all }}</ref><br />
*[[Clare Buckfield]]<br />
*[[Clare Burt]]<br />
*[[Danielle McCormack]]<br />
*[[Danniella Westbrook]]<br />
*[[Dean Gaffney]]<br />
*[[Denise Van Outen]]<br />
*[[Desmond Askew]]<br />
*[[Dionne Bromfield]]<ref name="Student Dionne Bromfield will perform a special 1Xtra Live Lounge">{{cite web |url=https://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |title=TREVOR NELSON AT THE SYLVIA YOUNG THEATRE SCHOOL |author=bbc.co.uk |date=16 March 2011 |work= |publisher=BBC Radio 1xtra |accessdate=9 August 2011 |archive-url=https://web.archive.org/web/20120313112308/http://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |archive-date=13 March 2012 |url-status = dead|df=dmy-all }}</ref><br />
*[[District3]] <br />
*[[Dominique Moore]] <br />
*[[Dua Lipa]]<br />
*[[Ella Purnell]]<br />
*[[Emma Bunton]]<br />
*[[Frances Ruffelle]]<br />
*[[Gemma Collins]]<br />
*[[Giovanna Fletcher]]<br />
*[[Hollie Chapman]]<ref name="Aussie TV show break">[http://www.meltontimes.co.uk/news/Hollie39s-Aussie-TV-show-break.356698.jp ''Hollie's Aussie TV show break'']</ref><br />
*[[Iain Robertson]]<br />
*[[Isabel Hodgins]]<br />
*[[Jake Roche]]<br />
*[[Jade Ewen]]<br />
*[[Jade Alleyne]]<br />
*[[James Lance]]<br />
*[[Jamie Borthwick]]<br />
*[[Jasmine Thompson]]<br />
*[[Javine Hylton]]<br />
*[[Jaymi Hensley]] <br />
*[[Jemima Rooper]]<br />
*[[Jenna Russell]]<br />
*[[Jesy Nelson]]<br />
*[[Jodi Albert]]<br />
*[[John Pickard (British actor)|John Pickard]]<br />
*[[Jon Lee (singer)|Jon Lee]]<br />
*[[Joseph Kpobie]]<br />
*[[Josh Cuthbert]] <br />
*[[Kara Tointon]]<br />
*[[Keeley Hawes]]<br />
*[[Kellie Bright]]<br />
*[[Laura Evans]]<ref name="Mandy_com">{{cite web|url=http://www.mandy.com/home.cfm?c=eva092|title=Mandy.com Laura Evans profile|author=|date=|work=|publisher=|accessdate=5 May 2011|url-status = dead|archiveurl=https://web.archive.org/web/20110928232324/http://www.mandy.com/home.cfm?c=eva092|archivedate=28 September 2011|df=dmy-all}}</ref><br />
*[[Laura Sadler]]<ref name="BBC News June 2003">{{cite web |url=http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |title=Obituary: Laura Sadler |publisher=news.bbc.co.uk |date=20 June 2003 |accessdate=23 June 2012 |archive-url=https://web.archive.org/web/20110709082204/http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |archive-date=9 July 2011 |url-status = live|df=dmy-all }}</ref><br />
*[[Lauren Platt (singer)|Lauren Platt]]<br />
*[[Leigh-Anne Pinnock]]<br />
*[[Leona Lewis]]<br />
*[[Letitia Dean]]<br />
*[[Lily Cole]]<br />
*[[Louisa Lytton]]<br />
*[[Lucinda Dryzek]]<br />
*[[Luisa Bradshaw-White]]<br />
*Macey-Ellie Eddy<br />
*[[Matt Di Angelo]]<br />
*[[Matt Willis]]<br />
*[[Matthew James Thomas]]<br />
*[[Melanie Blatt]]<br />
*[[Mohammed George]]<br />
*[[Natalie Appleton]]<br />
*[[Nathan Sykes (singer)|Nathan Sykes]]<br />
*[[Nicholas Hoult]]<br />
*[[Nick Berry]]<br />
*[[Nick Pickard]]<br />
*[[Nicola Stapleton]]<br />
*[[Nicole Appleton]]<br />
*[[Perry Fenwick]]<br />
*[[Preeya Kalidas]]<br />
*[[Reni Eddo-Lodge]]<ref name="twit">{{cite web|last1=Eddo-Lodge|first1=Reni|title=Reni Eddo-Lodge on Twitter|url=https://twitter.com/renireni/status/949253946509537280|website=Twitter|accessdate=22 January 2018|ref=twit|date=5 January 2018|quote=Hi @WestminsterWAG I didn't attend Sylvia Young Theatre School full time as a child. I went on a few summer schools though. Didn't you call up to check? Wikipedia is not a credible fact checking source.}}</ref><br />
*[[Rita Ora]]<ref name="Rita + Ora Last.fm">{{cite web|url=http://www.lastfm.de/group/Rita+Ora|title=Rita+Ora Last.fm profile|author=|date=|work=|publisher=|accessdate=10 August 2011|archive-url=https://web.archive.org/web/20130810064729/http://www.lastfm.de/group/Rita+Ora|archive-date=10 August 2013|url-status = live|df=dmy-all}}</ref><br />
*[[Sam Callahan]]<br />
*[[Samantha Womack]]<br />
*[[Sapphire Elia]]<br />
*[[Sarah Harrison (singer)|Sarah Harrison]]<br />
*[[Scott Robinson (singer)|Scott Robinson]]<br />
*[[Sean Borg]]<br />
*[[Shannon Arrum Williams]]<br />
*[[Sheree Murphy]]<br />
*[[Sophie Lawrence]]<br />
*[[Stefan Abingdon]]<br />
*[[Stella Quaresma (singer, featured in songs by ‘The Twist’)]]<br />
*[[Steven Mackintosh]]<br />
*[[Sydney Rae White]]<br />
*[[Tamzin Outhwaite]]<br />
*[[Tom Fletcher]]<br />
*[[Tony Bignell]]<br />
*[[Vanessa White]]<br />
{{div col end}}<br />
<br />
==Notes and references==<br />
{{Reflist}}<br />
<br />
==External links==<br />
*{{Official website|http://www.sylviayoungtheatreschool.co.uk}}<br />
*[https://www.thestage.co.uk/news/2010/sylvia-young-theatre-school-moves-into-new-home/ Sylvia Young Theatre School moves into new home]<br />
*[http://www.isc.co.uk/schools/england/london-area/marylebone/sylvia-young-theatre-school Profile] on the [[Independent Schools Council|ISC]] website<br />
<br />
{{Performing Arts Schools in the United Kingdom|secondary}}<br />
{{Schools and colleges in Westminster}}<br />
{{coord |51|31|1|N|0|9|45|W|type:edu_region:GB-WSM|display=title}}<br />
<br />
[[Category:Independent schools in the City of Westminster]]<br />
[[Category:Sylvia Young Theatre School]]<br />
[[Category:Schools of the performing arts in the United Kingdom]]<br />
[[Category:Dance schools in the United Kingdom]]<br />
[[Category:Drama schools in London]]<br />
[[Category:Member schools of the Independent Schools Association (UK)]]<br />
[[Category:Educational institutions established in 1981]]<br />
[[Category:1981 establishments in England]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Sylvia_Young_Theatre_School&diff=938317899Sylvia Young Theatre School2020-01-30T13:08:08Z<p>5.35.187.134: /* Outline */</p>
<hr />
<div>{{more citations needed|date= November 2014}}<br />
{{Use dmy dates|date=July 2011}}<br />
{{Use British English|date=August 2012}}<br />
{{Infobox school<br />
| name = Sylvia Young Theatre School<br />
| image = Sylvia Young Theatre School Logo.png<br />
| image_size = 150px<br />
| motto =<br />
| established = 1972<br />
| closed =<br />
| type = [[Independent school (UK)|Independent]] day and boarding<br />
| religious_affiliation =<br />
| president =<br />
| head_label = Principal<br />
| head = [[Sylvia Young]], [[OBE]]<br />
| r_head_label = Headteacher<br />
| r_head = Frances Chave BSc, PGCE, NPQH <br />
| chair_label = Artistic Director<br />
| chair = Steven Baker<br />
| founder = Sylvia Young [[OBE]]<br />
| specialist = Performing Arts<br />
| address = 1 Nutford Place<br />
| city = [[London]]<br />
| county = <br />
| country = [[England]]<br />
| postcode = W1H 5YZ<br />
| local_authority = [[Westminster City Council|Westminster]]<br />
| dfeno = 213/6319<br />
| ofsted = <br />
| staff =<br />
| enrolment = 230~<br />
| gender = [[Co-educational]]<br />
| lower_age = 10<br />
| upper_age = 18<br />
| houses =<br />
| colours =<br />
| publication =<br />
| free_label_1 =<br />
| free_1 =<br />
| free_label_2 =<br />
| free_2 =<br />
| free_label_3 =<br />
| free_3 =<br />
| website = {{URL|syts.co.uk}}<br />
}}<br />
[[File:Sylvia Young Theatre School.jpg|thumb|right|Sylvia Young Theatre School, Rossmore Road, 2006.]]<br />
'''Sylvia Young Theatre School''' is an independent school in the [[Marble Arch]] area, London, England. It is a specialist [[performing arts]] school named after its founder and principal, [[Sylvia Young]].<br />
<br />
==Outline==<br />
<br />
The Sylvia Young Theatre School was founded in 1972 with part-time classes in [[East London]]. It was established as a full-time school in 1981 on [[Drury Lane]], but due to expansion it moved to Rossmore Road, [[Marylebone]] in 1983. The school moved premises once again in 2010 to a converted church in Nutford Place, [[Westminster]].<br />
<br />
Students either attend the full-time school (students aged 10 to 16 years), the part-time school on Thursday evenings or Saturdays (students aged 4 to 18 years) or holiday schools (students aged 7 to 18 years).<br />
<br />
Students from the Sylvia Young Theatre School have appeared in television, film and theatre productions, including main roles in ''[[Merry Christmas, Mr. Bean]]'', ''Matilda'', ''Billy Elliott'', ''The Lion King'', ''The Bodyguard'', ''Les Misérables'', and ''Charlie & The Chocolate Factory''. Alumni include [[Royal National Theatre]] and [[Royal Shakespeare Company]] actors, and performers in bajsplutt day<br />
<br />
==Notable alumni==<br />
Performers who attended the Sylvia Young Theatre School include:<br />
<br />
<!-- NOTE: Please only add people based on references or the school's website. Please retain alphabetical order. The last time this list was synchronised with the school's web site was 8 August 2011 --><br />
{{div col|colwidth=22em}}<br />
*[[Adam Woodyatt]]<br />
*[[Adele Silva]]<br />
*[[Alex Pettyfer]]<br />
*[[Alex Walkinshaw]]<br />
*[[Amy Winehouse]]<br />
*[[Anna Fantastic]]<br />
*[[Ashley Horne]]<br />
*[[Ashley Walters (actor)|Ashley Walters]]<br />
*[[Bessie Cursons]]<ref name="Portsmouth The News 2009">{{cite web |url=http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |title=Bessie's talent gets her a part in West End show Oliver! |date=25 February 2009 |publisher=Portsmouth.co.uk |accessdate=20 May 2012 |archive-url=https://web.archive.org/web/20120509195128/http://www.portsmouth.co.uk/news/local/bessie-s-talent-gets-her-a-part-in-west-end-show-oliver-1-1227644 |archive-date=9 May 2012 |url-status = live|df=dmy-all }}</ref><br />
*[[Bethan Wright]]<br />
*[[Billie Piper]]<br />
*[[Camilla Power]]<br />
*[[Ceallach Spellman]]<ref name="waterloo_road">{{cite web |url=https://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |title=BBC One - Waterloo Road - Harry Fisher |publisher=bbc.co.uk |date= |accessdate=19 January 2012 |url-status = dead|archiveurl=https://web.archive.org/web/20101029110533/http://www.bbc.co.uk/tv/features/waterlooroad/aps/harry_fisher.shtml |archivedate=29 October 2010 |df=dmy-all }}</ref><br />
*[[Clare Buckfield]]<br />
*[[Clare Burt]]<br />
*[[Danielle McCormack]]<br />
*[[Danniella Westbrook]]<br />
*[[Dean Gaffney]]<br />
*[[Denise Van Outen]]<br />
*[[Desmond Askew]]<br />
*[[Dionne Bromfield]]<ref name="Student Dionne Bromfield will perform a special 1Xtra Live Lounge">{{cite web |url=https://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |title=TREVOR NELSON AT THE SYLVIA YOUNG THEATRE SCHOOL |author=bbc.co.uk |date=16 March 2011 |work= |publisher=BBC Radio 1xtra |accessdate=9 August 2011 |archive-url=https://web.archive.org/web/20120313112308/http://www.bbc.co.uk/1xtra/photos/trevornelson/6731/5#gallery6731 |archive-date=13 March 2012 |url-status = dead|df=dmy-all }}</ref><br />
*[[District3]] <br />
*[[Dominique Moore]] <br />
*[[Dua Lipa]]<br />
*[[Ella Purnell]]<br />
*[[Emma Bunton]]<br />
*[[Frances Ruffelle]]<br />
*[[Gemma Collins]]<br />
*[[Giovanna Fletcher]]<br />
*[[Hollie Chapman]]<ref name="Aussie TV show break">[http://www.meltontimes.co.uk/news/Hollie39s-Aussie-TV-show-break.356698.jp ''Hollie's Aussie TV show break'']</ref><br />
*[[Iain Robertson]]<br />
*[[Isabel Hodgins]]<br />
*[[Jake Roche]]<br />
*[[Jade Ewen]]<br />
*[[Jade Alleyne]]<br />
*[[James Lance]]<br />
*[[Jamie Borthwick]]<br />
*[[Jasmine Thompson]]<br />
*[[Javine Hylton]]<br />
*[[Jaymi Hensley]] <br />
*[[Jemima Rooper]]<br />
*[[Jenna Russell]]<br />
*[[Jesy Nelson]]<br />
*[[Jodi Albert]]<br />
*[[John Pickard (British actor)|John Pickard]]<br />
*[[Jon Lee (singer)|Jon Lee]]<br />
*[[Joseph Kpobie]]<br />
*[[Josh Cuthbert]] <br />
*[[Kara Tointon]]<br />
*[[Keeley Hawes]]<br />
*[[Kellie Bright]]<br />
*[[Laura Evans]]<ref name="Mandy_com">{{cite web|url=http://www.mandy.com/home.cfm?c=eva092|title=Mandy.com Laura Evans profile|author=|date=|work=|publisher=|accessdate=5 May 2011|url-status = dead|archiveurl=https://web.archive.org/web/20110928232324/http://www.mandy.com/home.cfm?c=eva092|archivedate=28 September 2011|df=dmy-all}}</ref><br />
*[[Laura Sadler]]<ref name="BBC News June 2003">{{cite web |url=http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |title=Obituary: Laura Sadler |publisher=news.bbc.co.uk |date=20 June 2003 |accessdate=23 June 2012 |archive-url=https://web.archive.org/web/20110709082204/http://news.bbc.co.uk/2/hi/entertainment/2994486.stm |archive-date=9 July 2011 |url-status = live|df=dmy-all }}</ref><br />
*[[Lauren Platt (singer)|Lauren Platt]]<br />
*[[Leigh-Anne Pinnock]]<br />
*[[Leona Lewis]]<br />
*[[Letitia Dean]]<br />
*[[Lily Cole]]<br />
*[[Louisa Lytton]]<br />
*[[Lucinda Dryzek]]<br />
*[[Luisa Bradshaw-White]]<br />
*Macey-Ellie Eddy<br />
*[[Matt Di Angelo]]<br />
*[[Matt Willis]]<br />
*[[Matthew James Thomas]]<br />
*[[Melanie Blatt]]<br />
*[[Mohammed George]]<br />
*[[Natalie Appleton]]<br />
*[[Nathan Sykes (singer)|Nathan Sykes]]<br />
*[[Nicholas Hoult]]<br />
*[[Nick Berry]]<br />
*[[Nick Pickard]]<br />
*[[Nicola Stapleton]]<br />
*[[Nicole Appleton]]<br />
*[[Perry Fenwick]]<br />
*[[Preeya Kalidas]]<br />
*[[Reni Eddo-Lodge]]<ref name="twit">{{cite web|last1=Eddo-Lodge|first1=Reni|title=Reni Eddo-Lodge on Twitter|url=https://twitter.com/renireni/status/949253946509537280|website=Twitter|accessdate=22 January 2018|ref=twit|date=5 January 2018|quote=Hi @WestminsterWAG I didn't attend Sylvia Young Theatre School full time as a child. I went on a few summer schools though. Didn't you call up to check? Wikipedia is not a credible fact checking source.}}</ref><br />
*[[Rita Ora]]<ref name="Rita + Ora Last.fm">{{cite web|url=http://www.lastfm.de/group/Rita+Ora|title=Rita+Ora Last.fm profile|author=|date=|work=|publisher=|accessdate=10 August 2011|archive-url=https://web.archive.org/web/20130810064729/http://www.lastfm.de/group/Rita+Ora|archive-date=10 August 2013|url-status = live|df=dmy-all}}</ref><br />
*[[Sam Callahan]]<br />
*[[Samantha Womack]]<br />
*[[Sapphire Elia]]<br />
*[[Sarah Harrison (singer)|Sarah Harrison]]<br />
*[[Scott Robinson (singer)|Scott Robinson]]<br />
*[[Sean Borg]]<br />
*[[Shannon Arrum Williams]]<br />
*[[Sheree Murphy]]<br />
*[[Sophie Lawrence]]<br />
*[[Stefan Abingdon]]<br />
*[[Stella Quaresma (singer, featured in songs by ‘The Twist’)]]<br />
*[[Steven Mackintosh]]<br />
*[[Sydney Rae White]]<br />
*[[Tamzin Outhwaite]]<br />
*[[Tom Fletcher]]<br />
*[[Tony Bignell]]<br />
*[[Vanessa White]]<br />
{{div col end}}<br />
<br />
==Notes and references==<br />
{{Reflist}}<br />
<br />
==External links==<br />
*{{Official website|http://www.sylviayoungtheatreschool.co.uk}}<br />
*[https://www.thestage.co.uk/news/2010/sylvia-young-theatre-school-moves-into-new-home/ Sylvia Young Theatre School moves into new home]<br />
*[http://www.isc.co.uk/schools/england/london-area/marylebone/sylvia-young-theatre-school Profile] on the [[Independent Schools Council|ISC]] website<br />
<br />
{{Performing Arts Schools in the United Kingdom|secondary}}<br />
{{Schools and colleges in Westminster}}<br />
{{coord |51|31|1|N|0|9|45|W|type:edu_region:GB-WSM|display=title}}<br />
<br />
[[Category:Independent schools in the City of Westminster]]<br />
[[Category:Sylvia Young Theatre School]]<br />
[[Category:Schools of the performing arts in the United Kingdom]]<br />
[[Category:Dance schools in the United Kingdom]]<br />
[[Category:Drama schools in London]]<br />
[[Category:Member schools of the Independent Schools Association (UK)]]<br />
[[Category:Educational institutions established in 1981]]<br />
[[Category:1981 establishments in England]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Moa&diff=832842462Moa2018-03-28T08:49:01Z<p>5.35.187.134: </p>
<hr />
<div>{{about|the [[extinct]] New Zealand birds known as moa}}<br />
{{automatic taxobox<br />
| name = Moa<br />
| display_parents = 2<br />
| taxon = Dinornithiformes<br />
| authority = [[Charles Lucien Bonaparte|Bonaparte]], 1853<ref>Brands, S. (2008)</ref><br />
| fossil_range = [[Miocene]] - [[Holocene]], {{fossil range|17|0.0006|earliest=19}}<br />
| image = Dinornis maximus, Natural History Museum (PV A 608).jpg<br />
| image_caption = [[North Island giant moa]] Skeleton<br />
| type_species = {{extinct}}''[[Dinornis novaezealandiae]]''<br />
| type_species_authority = [[Richard Owen|Owen]], 1843<br />
| subdivision_ranks = Subgroups<br />
| subdivision = See [[Moa#Classification|text]]<br />
| diversity = 6 genera, 9 species<br />
| diversity_link = List of moa<br />
| diversity_ref = <ref name="Stephenson"/><br />
| synonyms_ref=<ref>{{cite journal|author=Brodkob, Pierce|year=1963| title=''Catalogue of fossil birds 1- Archaeopterygiformes through Ardeiformes'' | url=http://ufdc.ufl.edu/UF00001514/00001|journal=[[Biological sciences]], Bulletin of the Florida State Museum| volume=7|issue=4|pages=180–293| accessdate=30 December 2015}}</ref><br />
| synonyms =<br />
* Dinornithes <small>Gadow, 1893</small><br />
* Immanes <small>Newton 1884</small><br />
}}<br />
<br />
The '''moa'''{{#tag:ref|In the [[Māori language]] words do not use ''s'' to indicate plural, and thus "moa" is both plural and singular. Some English speakers apply this rule to their use of the word within English, although others use the regularly formed English plural "moas".|group=note}} were nine [[species]] (in six genera) of [[flightless bird]]s endemic to New Zealand.<ref name="bird.org.nz">OSNZ (2009)</ref>{{#tag:ref|At least two distinct forms are also known from the [[Saint Bathans Fauna]].|group=note}} The two largest species, ''[[Dinornis]] robustus'' and ''[[Dinornis]] novaezelandiae'', reached about {{convert|3.6|m|ft|abbr=on}} in height with neck outstretched, and weighed a Memo IS UGLY AND FAT {{convert|230|kg|lb|abbr=on}}.<ref name="Davies">Davies, S. J. J. F. (2003)</ref> It is estimated that, when Polynesians settled New Zealand circa 1280, the moa population was about 58,000.<ref name=":0" /><br />
<br />
Moa belong to the [[Order (biology)|order]] '''Dinornithiformes''', traditionally placed in the [[ratite]] group.<ref name="bird.org.nz"/> However, their closest relatives have been found by genetic studies to be the flighted South American [[tinamou]]s, once considered to be a [[sister group]] to ratites.<ref name="Phillips" /> The nine species of moa were the only wingless birds lacking even the vestigial wings which all other ratites have. They were the dominant [[herbivore]]s in New Zealand's forest, shrubland and subalpine [[ecosystems]] for thousands of years, and until the arrival of the [[Māori people|Māori]] were hunted only by the [[Haast's eagle]]. Moa extinction occurred around 1300<ref>http://activeadventures.com/new-zealand/about/nature/birds-of-new-zealand/moa</ref> – 1440 ± 20 years, primarily due to overhunting by Māori.<ref name=":0">{{Cite journal|url = http://www.sciencedirect.com/science/article/pii/S0277379114003734|title = A high-precision chronology for the rapid extinction of New Zealand moa (Aves, Dinornithiformes)|last = Perry|first = George L.W.|date = 2014-12-01|journal = [[Quaternary Science Reviews]]|doi = 10.1016/j.quascirev.2014.09.025|pmid = |access-date = 2014-12-22|last2 = Wheeler|first2 = Andrew B.|last3 = Wood|first4 = Janet M.|last4 = Wilmshurst|first3 = Jamie R.|issue = |volume = 105 |pages=126–135}}</ref><br />
<br />
==Description==<br />
[[File:Dinornithidae SIZE 01.png|thumb|left|A size comparison between 4 moa species and a human. {{Clear}} '''1.''' ''[[Dinornis novaezealandiae]]'' {{Clear}} '''2.''' ''[[Emeus crassus]]'' {{Clear}} '''3.''' ''[[Anomalopteryx didiformis]]'' {{Clear}} '''4.''' ''[[Dinornis robustus]]'']]<br />
<br />
Although moa skeletons were traditionally reconstructed in an upright position to create impressive height, analysis of their vertebral articulation indicates that they probably carried their heads forward,<ref name="WH">Worthy & Holdaway (2002)</ref> in the manner of a [[kiwi]]. The spine was attached to the rear of the head rather than the base, indicating the horizontal alignment. This would have allowed them to graze on low-elevation vegetation, while being able to lift their heads and browse trees when necessary. This has resulted in a reconsideration of the height of larger moa.<br />
<br />
Although there is no surviving record of what sounds moa made, some idea of their calls can be gained from fossil evidence. The [[Vertebrate trachea|trachea]] of moa were supported by many small rings of bone known as tracheal rings. Excavation of these rings from articulated skeletons has shown that at least two moa genera (''Euryapteryx'' and ''Emeus'') exhibited tracheal elongation, that is, their trachea were up to 1 metre (3&nbsp;ft) long and formed a large loop within the body cavity.<ref name="WH" /> These are the only ratites known to exhibit this feature, which is also present in several other bird groups including [[swan]]s, [[Crane (bird)|cranes]], and [[guinea fowl]]. The feature is associated with deep, resonant vocalisations that can travel long distances.<br />
<br />
{{Clear}}<br />
<br />
==Evolutionary relationships==<br />
[[Image:Kiwi, ostrich, Dinornis.jpg|thumb|upright|A comparison of a [[kiwi]] (left), [[ostrich]] (center), and ''[[Dinornis]]'' (right), each with its egg.]]<br />
<br />
Research published starting in 2010 has found that the moa's closest cousins are small terrestrial South American birds called the [[tinamou]]s which are able to fly.<ref name="Phillips">Phillips, ''et al.'' (2010)</ref><ref name="Allentoft2012">{{Cite journal | doi = 10.1016/j.aanat.2011.04.002| title = Moa's Ark or volant ghosts of Gondwana? Insights from nineteen years of ancient DNA research on the extinct moa (Aves: Dinornithiformes) of New Zealand| journal = Annals of Anatomy - Anatomischer Anzeiger| volume = 194| pages = 36–51| date = 2012-01-20| last1 = Allentoft | first1 = M. E. | last2 = Rawlence | first2 = N. J. | ref = harv }}</ref><ref name = "Mitchell2014">{{Cite journal | doi = 10.1126/science.1251981| pmid = 24855267| title = Ancient DNA reveals elephant birds and kiwi are sister taxa and clarifies ratite bird evolution| journal = Science| volume = 344| issue = 6186| pages = 898–900| date = 2014-05-23| last1 = Mitchell | first1 = K. J.| last2 = Llamas | first2 = B.| last3 = Soubrier | first3 = J.| last4 = Rawlence | first4 = N. J.| last5 = Worthy | first5 = T. H.| last6 = Wood | first6 = J.| last7 = Lee | first7 = M. S. Y.| last8 = Cooper | first8 = A.| ref = harv}}</ref><ref name="Baker2014">{{Cite journal | doi = 10.1093/molbev/msu153| title = Genomic Support for a Moa-Tinamou Clade and Adaptive Morphological Convergence in Flightless Ratites| journal = Molecular Biology and Evolution| year = 2014| last1 = Baker | first1 = A. J.| last2 = Haddrath | first2 = O.| last3 = McPherson | first3 = J. D.| last4 = Cloutier | first4 = A.| ref = harv | volume=31 | pages=1686–1696 | pmid=24825849}}</ref> Previously, the [[kiwi]], the Australian [[emu]], and [[cassowary]]<ref name="Turvey">Turvey ''et al.'' (2005)</ref> were thought to be most closely related to the moa.<br />
<br />
Although dozens of species were described in the late 19th century and early 20th century, many were based on partial skeletons and turned out to be [[Synonym (zoology)|synonyms]]. Currently, eleven species are formally recognised, although recent studies using [[ancient DNA]] recovered from bones in museum collections suggest that distinct lineages exist within some of these. One factor that has caused much confusion in moa taxonomy is the intraspecific variation of bone sizes, between glacial and inter-glacial periods (see [[Bergmann’s rule]] and [[Allen’s rule]]) as well as [[sexual dimorphism]] being evident in several species. ''[[Dinornis]]'' seems to have had the most pronounced [[sexual dimorphism]], with females being up to 150% as tall and 280% as heavy as males&mdash;so much bigger that they were formerly classified as separate species until 2003.<ref name="Huynen">Huynen, L. J.,''et al.'' (2003)</ref><ref name="Bunce">Bunce, M., ''et al.'' (2003)</ref> A 2009 study showed that ''Euryapteryx curtus'' and ''Euryapteryx gravis'' were synonyms.<ref name="Bunce2">{{Cite journal | last1 = Bunce | first1 = M. | last2 = Worthy | first2 = T. H. | last3 = Phillips | first3 = M. J. | last4 = Holdaway | first4 = R. N. | last5 = Willerslev | first5 = E. | last6 = Haile | first6 = J. | last7 = Shapiro | first7 = B. | last8 = Scofield | first8 = R. P. | last9 = Drummond | first9 = A. | last10 = Kamp | doi = 10.1073/pnas.0906660106 | first10 = P. J. J. | last11 = Cooper | first11 = A. | title = The evolutionary history of the extinct ratite moa and New Zealand Neogene paleogeography | journal = Proceedings of the National Academy of Sciences | volume = 106 | issue = 49 | pages = 20646–20651 | year = 2009 | pmid = 19923428| pmc = 2791642}}</ref> A 2010 study explained size differences among them as sexual dimorphism.<ref>{{Cite journal | last1 = Gill | first1 = B. J. | doi = 10.3853/j.0067-1975.62.2010.1535 | title = Regional comparisons of the thickness of moa eggshell fragments (Aves: Dinornithiformes). In Proceedings of the VII International Meeting of the Society of Avian Paleontology and Evolution, ed. W.E. Boles and T.H. Worthy | journal = Records of the Australian Museum | volume = 62 | pages = 115–122 | year = 2010 | pmid = | pmc = }}</ref> A 2012 morphological study interpreted them as subspecies instead.<ref>{{Cite journal | last1 = Worthy | first1 = T. H. | last2 = Scofield | first2 = R. P. | doi = 10.1080/03014223.2012.665060 | title = Twenty-first century advances in knowledge of the biology of moa (Aves: Dinornithiformes): A new morphological analysis and moa diagnoses revised | journal = New Zealand Journal of Zoology | volume = 39 | issue = 2 | pages = 87–153 | year = 2012 | pmid = | pmc = }}</ref><br />
<br />
[[Ancient DNA]] analyses have determined that there were a number of cryptic evolutionary lineages in several moa genera.<ref>{{Cite journal | doi = 10.1073/pnas.0409435102| title = Reconstructing the tempo and mode of evolution in an extinct clade of birds with ancient DNA: The giant moas of New Zealand| journal = Proceedings of the National Academy of Sciences| volume = 102| issue = 23| pages = 8257–62| year = 2005| last1 = Baker | first1 = A. J.| last2 = Huynen | first2 = L. J.| last3 = Haddrath | first3 = O.| last4 = Millar | first4 = C. D.| last5 = Lambert | first5 = D. M. | pmid=15928096 | pmc=1149408}}</ref> These may eventually be classified as species or subspecies; ''Megalapteryx benhami'' (Archey) which is synonymised with ''M.&nbsp;didinus'' (Owen) because the bones of both share all essential characters. Size differences can be explained by a north-south [[cline (biology)|cline]] combined with temporal variation such that specimens were larger during the Otiran glacial period (the last ice age in New Zealand). Similar temporal size variation is known for the North Island ''Pachyornis mappini''.<ref>Worthy (1987)</ref> Some of the other size variation for moa species can probably be explained by similar geographic and temporal factors.<ref>Worthy, ''et al.'' (1988)</ref><br />
<br />
The earliest moa remains come from the [[Miocene]] [[Saint Bathans Fauna]]. Known from multiple eggshells and hindlimb elements, these represent at least two species of already fairly large sized species.<ref name="ReferenceA">{{cite journal | last1 = Tennyson | first1 = A.J.D. | last2 = Worthy | first2 = T.H. | last3 = Jones | first3 = C.M. | last4 = Scofield | first4 = R.P. | last5 = Hand | first5 = S.J. | year = 2010 | title = Moa's Ark: Miocene fossils reveal the great antiquity of moa (Aves: Dinornithiformes) in Zealandia | url = | journal = Records of the Australian Museum | volume = 62 | issue = | pages = 105–114 | doi=10.3853/j.0067-1975.62.2010.1546}}</ref><br />
<br />
==Classification==<br />
<br />
===Taxonomy===<br />
[[Image:Emeus crassus e Pachyornis elephantopus.jpg|thumb|upright|''Emeus crassus'' and ''Pachyornis elephantopus'']]<br />
[[Image:Anomalopteryx didiformus.jpg|thumb|upright|''Anomalopteryx didiformis'' skeleton]]<br />
<br />
The currently recognised genera and species are:<ref name="Davies" /><br />
{{Clear left}}<br />
*Order †'''Dinornithiformes''' <small>(Gadow 1893) Ridgway 1901</small> [Dinornithes <small>Gadow 1893</small>; Immanes <small>Newton 1884</small>] (moa)<br />
**Family '''Dinornithidae''' Owen 1843 [Palapteryginae Bonaparte 1854; Palapterygidae Haast 1874; Dinornithnideae Stejneger 1884]<br />
***Genus '''''[[Giant moa|Dinornis]]'''''<br />
****[[North Island giant moa]], ''Dinornis novaezealandiae'' (North Island, New Zealand)<br />
****[[South Island giant moa]], ''Dinornis robustus'' (South Island, New Zealand)<br />
**Family '''Emeidae''' <small>(Bonaparte 1854)</small> [Emeinae <small>Bonaparte 1854</small>; Anomalopterygidae <small>Oliver 1930</small>; Anomalapteryginae <small>Archey 1941</small>] (lesser moas)<br />
***Genus '''''[[Anomalopteryx]]'''''<br />
****[[Bush moa]], ''Anomalopteryx didiformis'' (South Island, New Zealand)<br />
***Genus '''''[[Emeus]]''''' <br />
****[[Eastern moa]], ''Emeus crassus'' (South Island, New Zealand)<br />
***Genus '''''[[Euryapteryx]]'''''<br />
****[[Coastal moa]], ''Euryapteryx curtus'' (North and South Island, New Zealand)<br />
***Genus '''''[[Pachyornis]]'''''<br />
****[[Heavy-footed moa]], ''Pachyornis elephantopus'' (South Island, New Zealand)<br />
****[[Mantell's moa]], ''Pachyornis geranoides'' (North Island, New Zealand)<br />
****[[Crested moa]], '' Pachyornis australis'' (South Island, New Zealand)<ref name="Stephenson">Stephenson, Brent (2009)</ref><br />
**Family '''[[Megalapterygidae]]'''<br />
***[[Genus]] '''''[[Megalapteryx]]'''''<br />
****[[Upland moa]], ''Megalapteryx didinus'' (South Island, New Zealand)<br />
<br />
Two unnamed species from the [[Saint Bathans Fauna]].<ref name="ReferenceA"/><br />
{{Clear}}<br />
<br />
===Phylogeny===<br />
[[Image:Moa footprints.jpg|thumb|upright|Preserved footprints of a ''D.&nbsp;robustus'' found in 1911.]]<br />
<br />
Because '''moa''' are a group of flightless [[birds]] with no vestiges of wing bones, questions have been raised about how they arrived in New Zealand, and from where. There are many theories about the moa's arrival and radiation on New Zealand, but the most recent theory suggests that the moa arrived on New Zealand about 60&nbsp;million years ago (Mya) and split from the "basal" (see below) moa species, ''Megalapteryx'' about 5.8&nbsp;Mya<ref>{{cite journal|last=Bunce|first=M.<br />
|last2=Worthy |first2= T. H. |last3=Phillips |first3=M. J. |last4=Holdaway |first4 = R. N. |last5= Willerslev |first5=E. |last6=Hailef |first6=J. |last7=Shapiro |first7=B. |last8=Scofield |first8=R. P. |last9=Drummond |first9=A. |last10=Kampk |first10=P. J. J. |last11=Cooper |first11=A. |title=The evolutionary history of the extinct ratite moa and New Zealand Neogene paleogeography|journal=Proceedings of the National Academy of Sciences|year=2009|volume=106|pages=20646–20651|doi=10.1073/pnas.0906660106 |pmid=19923428 |pmc=2791642}}</ref> instead of the 18.5&nbsp;Mya split suggested by Baker et al. (2005). This does not necessarily mean there was no speciation between the arrival 60&nbsp;Mya and the basal split 5.8&nbsp;Mya, but the fossil record is lacking and is it most likely that early moa lineages existed but became extinct before the basal split 5.8&nbsp;Mya.<ref>{{cite journal|last=Allentoft|first=Morten|author2=Nicolas Rawlence|title=Moa’s ark or volant ghosts of Gondwana? Insights from nineteen years of ancient DNA research on the extinct moa (Aves: Dinornithiformes) of New Zealand|journal=Annals of Anatomy|year=2012|volume=194|pages=36–51|doi=10.1016/j.aanat.2011.04.002}}</ref> The presence of [[Miocene]] aged species certainly suggests that moa diversification began before the split between ''Megalapteryx'' and the other taxa.<ref name="ReferenceA"/><br />
<br />
The [[Oligocene]] Drowning Maximum event, which occurred about 22&nbsp;Mya, when only 18% of present-day New Zealand was above sea level, is very important in the moa radiation. Because the basal moa split occurred so recently (5.8&nbsp;Mya), it was argued that ancestors of the Quaternary moa lineages could not have been present on both the South and North island remnants during the Oligocene drowning.<ref>{{cite journal|last=Allentoft|first=Morten|author2=Nicloas Rawlence|title=Moa’s ark or volant ghosts of Gondwana? Insights from nineteen years of ancient DNA research on the extinct moa (Aves: Dinornithiformes) of New Zealand|journal=Annals of Anatomy|year=2012|volume=194|pages=36–51|doi=10.1016/j.aanat.2011.04.002}}</ref> This does not imply that moa were previously absent from the North Island, but that only those from the South Island survived, because only the South Island was above sea level. Bunce et al. (2009) argued that moa ancestors survived on the South Island and then recolonized the North Island about 2&nbsp;My later, when the two islands rejoined after 30&nbsp;My of separation.<ref name=Bunce /> The presence of Miocene moas in the Saint Bathans fauna seems to suggest that these birds increased in size soon after the Oligocene Drowning Event, if they were affected by it at all.<ref name="ReferenceA"/><br />
<br />
Bunce et al. also concluded that the highly complex structure of the moa lineage was caused by the formation of the [[Southern Alps]] about 6&nbsp;Mya, and the habitat fragmentation on both islands resulting from Pleistocene glacial cycles, [[volcanism]], and landscape changes.<ref name="Bunce"/> On the left is a phylogeny of Palaeognathae generated by Mitchell (2014)<ref name = "Mitchell2014" /> with some clade names after Yuri ''et al.'' (2013)<ref>{{cite journal | last1 = Yuri | first1 = T | year = 2013 | title = Parsimony and model-based analyses of indels in avian nuclear genes reveal congruent and incongruent phylogenetic signals | journal = Biology | volume = 2 | issue = | pages = 419–44 | doi=10.3390/biology2010419 | pmid=24832669 | pmc=4009869}}</ref> The below right is a species level phylogeny of Dinornithiformes.<ref name="Bunce"/><br />
<br />
<div class="NavContent"><br />
{| width="100%"<br />
|- valign="top"<br />
| align="left" width="50%" |<br />
{{clade| style=font-size:80%; line-height:80%<br />
|1=[[Struthioniformes]] ([[Ostrich]]es)<br />
|label2=[[Notopalaeognathae]]<br />
|2={{Clade<br />
|1=[[Rheiformes]] ([[Rhea (bird)|Rhea]])<br />
|label2=<br />
|2={{Clade<br />
|label1=<br />
|1={{clade<br />
|1=[[Tinamiformes]] ([[Tinamou]]s)<br />
|2='''Dinornithiformes'''† (Moas)<br />
}}<br />
|label2=[[Novaeratitae]]<br />
|2={{Clade<br />
|label1=<br />
|1={{Clade<br />
|label1=<br />
|1={{Clade<br />
|1=[[Apterygiformes]] ([[Kiwi]])<br />
|2=[[Aepyornithiformes]]† ([[Elephant bird]])<br />
}}<br />
|label2=[[Casuariiformes]]<br />
|2={{Clade<br />
|1=[[Casuariidae]] ([[Cassowary]])<br />
|2=[[Dromaiidae]] ([[Emu]])<br />
}}<br />
}}<br />
}}<br />
}}<br />
}}<br />
}}<br />
| align="left" width="50%"|<br />
{{clade| style=font-size:80%;line-height:80%<br />
|label1=<br />
|1={{clade<br />
|label1=Dinornithidae<br />
|1={{clade<br />
|1=''[[Dinornis robustus]]''<br />
|2=''[[Dinornis novaezealandiae]]''<br />
}}<br />
|label2=Megalapteryidae<br />
|2={{clade<br />
|1=''[[Megalapteryx didinus]]''<br />
}}<br />
}}<br />
|label2=Emeidae<br />
|2={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|1=''[[Pachyornis australis]]''<br />
|label2=&nbsp;<br />
|2={{clade<br />
|1=''[[Pachyornis elephantopus]]''<br />
|2=''[[Pachyornis geranoides]]''<br />
}}<br />
}}<br />
}}<br />
}}<br />
|label2=&nbsp;<br />
|2={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|1=''[[Anomalopteryx didiformis]]''<br />
|label2=&nbsp;<br />
|2={{clade<br />
|1=''[[Emeus crassus]]''<br />
|2=''[[Euryapteryx curtus]]''<br />
}}<br />
}}<br />
}}<br />
}}<br />
}}<br />
|}<br />
</div><br />
<br />
==Distribution and habitat==<br />
Analyses of fossil moa bone assemblages have provided detailed data on the habitat preferences of individual moa species, and revealed distinctive regional moa faunas:<ref name="WH" /><ref>Worthy, T. H. (1998)a</ref><ref>Worthy, T. H. (1998)b</ref><ref>Worthy, T. H. & Holdaway, R. N. (1993)</ref><ref>Worthy, T. H. & Holdaway, R. N. (1994)</ref><ref>Worthy, T. H. & Holdaway, R. N. (1995)</ref><ref>Worthy, T. H. & Holdaway, R. N. (1996)</ref><br />
<br />
===South Island===<br />
[[File:Giant moa.jpg|thumb|upright|A restoration of ''Dinornis robustus'' and ''Pachyornis elephantopus'', both from the South Island.]]<br />
The two main faunas identified in the South Island include: 1. The fauna of the high rainfall west coast beech (''[[Nothofagus]]'') forests that included ''Anomalopteryx didiformis'' (bush moa) and ''Dinornis robustus'' (South Island giant moa); and 2. The fauna of the dry rainshadow forest and shrublands east of the [[Southern Alps]] that included ''Pachyornis elephantopus'' (heavy-footed moa), ''Euryapteryx gravis'', ''Emeus crassus'' and ''Dinornis robustus''. The two other moa species that existed in the South Island; ''Pachyornis australis'' and ''Megalapteryx didinus'' might be included in a ‘[[subalpine]] fauna’, along with the widespread ''Dinornis robustus''. ''P. australis'' is the rarest of the moa species, and the only one not yet found in Maori middens.<br />
<br />
Its bones have been found in caves in the northwest [[Nelson, New Zealand|Nelson]] and [[Karamea]] districts (such as [[Honeycomb Hill Cave]]), and some sites around the [[Wanaka]] district. ''M.&nbsp;didinus'' is more widespread. Its name "upland moa" reflects the fact its bones are commonly found in the subalpine zone. However, it also occurred down to sea level where there was suitable steep and rocky terrain (such as [[Punakaiki]] on the west coast and [[Central Otago]]). Their distributions in coastal areas have been rather unclear, but were present at least in several locations such as on [[Kaikoura]], [[Otago Peninsula]],<ref>{{cite web|author=Buick L.T.|year=1937|title=The Moa-Hunters of New Zealand: Sportsman of the Stone Age - Chapter I. Did The Maori Know The Moa?|url=http://nzetc.victoria.ac.nz/tm/scholarly/tei-BuiMoaH-t1-body-d0-d1.html|journal=[[Victoria University of Wellington]] Catalogue - New Zealand Texts Collection|publisher=[[W & T Avery Ltd.]]|accessdate=2015-02-03}}</ref> and [[Karitane]].<ref>{{cite web|author=Teviotdale D.|year=1932|title=The material culture of the Moa-hunters in Murihiku. - 2. EVIDENCE OF ZOOLOGY.|url=http://www.jps.auckland.ac.nz/document//Volume_41_1932/Volume_41,_No._162/The_material_culture_of_the_Moa-hunters_in_Murihiku,_by_David_Teviotdale,_p_81-120/p1|journal=The Journal of Polynesian Society Volume 41, No. 162|pages=81–120|accessdate=2015-02-03}}</ref><br />
[[Image:The skeletons of Eastern moa and other kinds of moas in Otago museum.jpg|thumb|upright|The skeletons of Eastern moa (''Emeus crassus'') and other kinds of moas in Otago museum.]]<br />
<br />
===North Island===<br />
Significantly less is known about North Island paleofaunas, due to a paucity of fossil sites compared to the South Island; however, the basic pattern of moa-habitat relationships was the same.<ref name="WH" /> Although the South Island and the North Island shared some moa species (''Euryapteryx gravis'', ''Anomalopteryx didiformis''), most were exclusive to one island, reflecting divergence over several thousand years since lower sea level had resulted in a land bridge across [[Cook Strait]].<ref name="WH" /><br />
<br />
In the North Island, ''Dinornis novaezealandiae'' and ''Anomalopteryx didiformis'' dominated in high rainfall forest habitat; a similar pattern to the South Island. The other moa species present in the North Island (''Euryapteryx gravis'', ''E.&nbsp;curtus'', and ''Pachyornis geranoides'') tended to inhabit drier forest and shrubland habitats. ''P. geranoides'' occurred throughout the North Island, while the distributions of ''E.&nbsp;gravis'' and ''E.&nbsp;curtus'' were almost mutually exclusive, the former having only been found in coastal sites around the southern half of the North Island.<ref name="WH" /><br />
<br />
==Behaviour and ecology==<br />
Approximately eight moa [[fossil trackway|trackway]]s, with fossilised moa footprint impressions in fluvial silts have been found throughout the North Island, including Waikanae Creek (1872), Napier (1887), Manawatu River (1895), Marton (1896), Palmerston North (1911) (see photograph to left), Rangitikei River (1939), and underwater in Lake Taupo (1973). Analysis of the spacing of these tracks indicates walking speeds of between 3 and 5&nbsp;km/h (1.75–3&nbsp;mph).<ref name="WH" /><br />
<br />
===Diet===<br />
[[Image:Dinornis giganteus.jpg|thumb|''D. novaezealandiae'' skull at the Museum für Naturkunde, Berlin.]]<br />
Although feeding moa were never observed by scientists, their diet has been deduced from [[fossil]]ised contents of their [[gizzard]]s<ref>Burrows, ''et al.'' (1981)</ref><ref name="autogenerated3">Wood (2007)</ref> and [[coprolite]]s,<ref>Horrocks, ''et al.'' (2004)</ref> as well as indirectly through morphological analysis of skull and beak, and [[Isotope analysis|stable isotope analysis]] of their bones.<ref name="WH" /> Moa fed on a range of plant species and plant parts, including fibrous twigs and leaves taken from low trees and shrubs. The beak of ''[[Pachyornis]]'' ''elephantopus'' was analogous to a pair of [[secateur]]s, and was able to clip the fibrous leaves of New Zealand flax (''[[Phormium]]'' ''tenax'') and twigs up to at least 8&nbsp;mm in diameter.<ref name="autogenerated3" /><br />
<br />
Like many other birds, moa swallowed ''gizzard stones'' ([[gastrolith]]s), which were retained in their muscular gizzards, providing a grinding action that allowed them to eat coarse plant material. These stones were commonly smooth, rounded quartz pebbles, but stones over {{convert|110|mm|in|0}} in length have been found amongst preserved moa gizzard contents.<ref name="autogenerated3" /> ''Dinornis'' gizzards could often contain several kilograms of stones.<ref name="WH" /> It has been suggested that moas exercised a certain selectivity in the choice of gizzard stones and chose the hardest pebbles.<ref>{{cite journal | last1 = Smalley | first1 = I.J. | year = 1979 | title = Moas as rockhounds | url = | journal = Nature | volume = 281 | issue = | pages = 103–104 | doi = 10.1038/281103b0 }}</ref><br />
<br />
===Reproduction===<br />
It has been long suspected that the pairs of species of moa described as ''Euryapteryx curtus''/''E.&nbsp;exilis'', ''Emeus huttonii''/''E.&nbsp;crassus'', and ''Pachyornis septentrionalis''/''P.&nbsp;mappini'' constituted males and females, respectively. This has been confirmed by analysis for sex-specific genetic markers of DNA extracted from bone material.<ref name="Huynen" /><br />
<br />
For example, prior to 2003 there were three species of ''Dinornis'' recognised: South Island giant moa (''D.&nbsp;robustus''), North Island giant moa (''D.&nbsp;novaezealandiae'') and slender moa (''D.&nbsp;struthioides''). However, DNA showed that all ''D.&nbsp;struthioides'' were in fact males, and all ''D.&nbsp;robustus'' were females. Therefore, the three species of ''Dinornis'' were reclassified as two species, one each formerly occurring on New Zealand's North Island (''D.&nbsp;novaezealandiae'') and South Island (''D.&nbsp;robustus'');<ref name="Huynen" /><ref>{{Cite journal | last1 = Bunce | first1 = M. | last2 = Worthy | first2 = T. H. | last3 = Ford | first3 = T. | last4 = Hoppitt | first4 = W. | last5 = Willerslev | first5 = E. | last6 = Drummond | first6 = A. | last7 = Cooper | first7 = A. | title = Extreme reversed sexual size dimorphism in the extinct New Zealand moa Dinornis | journal = Nature | volume = 425 | issue = 6954 | pages = 172–175 | year = 2003 | pmid = 12968178 | doi = 10.1038/nature01871}}</ref> ''D.&nbsp;robustus'' however, comprises three distinct genetic lineages and may eventually be classified as many species, as discussed above.<br />
<br />
Examination of growth rings present in moa cortical bone has revealed that these birds were [[k-selection|K-selected]], as are many other large endemic New Zealand birds.<ref name="Turvey" /> They are characterised by having low [[fecundity]] and a long [[wikt:maturation|maturation]] period, taking approximately ten years to reach adult size. The large ''Dinornis'' species took the same length of time to reach adult size as small moa species, and as a result had an accelerated rate of skeletal growth during their juvenile years.<ref name="Turvey" /><br />
<br />
There is no evidence to suggest that moa were colonial nesters. While evidence of moa nesting is often inferred from accumulations of eggshell fragments found in [[caves]] and rock shelters, little evidence exists of the [[bird nest|nest]]s themselves. Excavations of rock shelters in the eastern North Island during the 1940s uncovered moa nests, which were described as "small depressions obviously scratched out in the soft dry [[pumice]]".<ref>Hartree (1999)</ref> Moa nesting material has also been recovered from rock shelters in the [[Central Otago]] region of the South Island, where the dry climate has resulted in the preservation of plant material used to construct the nesting platform (including twigs that have been clipped by moa bills).<ref name="Wood">Wood, J. R. (2008)</ref> [[Seeds]] and [[pollen]] within moa coprolites found amongst the nesting material provide evidence that the nesting season was late spring to summer.<ref name="Wood" /><br />
<br />
Fragments of moa eggshell are often encountered in [[archaeological]] sites and [[sand dunes]] around the New Zealand coast. Thirty six whole moa eggs exist in museum collections and vary greatly in size (from {{convert|120|-|240|mm|in}} in length and {{convert|91|-|178|mm|in}} wide).<ref>Gill (2007)</ref> The outer surface of moa eggshell is characterised by small slit-shaped pores. The eggs of most moa species were white, although those of the upland moa (''Megalapteryx didinus'') were blue-green.<ref name="Huynen, Leon 2010">Huynen, Leon; Gill, Brian J.; Millar, Craig D.; and Lambert, David M. (2010)</ref><br />
<br />
A 2010 study by Huynen et al. has found that the eggs of certain species were fragile, only around a millimeter in thickness: "Unexpectedly, several thin-shelled eggs were also shown to belong to the heaviest moa of the genera ''Dinornis'', ''Euryapteryx'', and ''Emeus'', making these, to our knowledge, the most fragile of all avian eggs measured to date. Moreover, sex-specific DNA recovered from the outer surfaces of eggshells belonging to species of ''Dinornis'' and ''Euryapteryx'' suggest that these very thin eggs were likely to have been incubated by the lighter males. The thin nature of the eggshells of these larger species of moa, even if incubated by the male, suggests that egg breakage in these species would have been common if the typical contact method of avian egg incubation was used."<ref name="Huynen, Leon 2010"/> Despite the bird's extinction, the high yield of DNA available from recovered fossilized eggs has allowed the moa to have its genome sequenced.<ref>Yong, Ed. (2010)</ref><br />
<br />
<gallery widths="200px" heights="200px"><br />
Image:The skeleton of female upland moa.JPG|The skeleton of female upland moa with egg in unlaid position within the pelvic cavity in Otago Museum.<br />
File:Emeus egg and embryo.jpg|An egg and embryo fragments of ''Emeus crassus''<br />
File:Megalapteryx.png|Restoration of an [[Upland moa]]<br />
</gallery><br />
<br />
==Relationship with humans==<br />
<br />
===Extinction===<br />
[[File:Giant Haasts eagle attacking New Zealand moa.jpg|thumb|left|An artist's rendition of a [[Haast's eagle]] attacking moa.]]<br />
Before the arrival of human settlers, the moa's only predator was the massive [[Haast's eagle]]. New Zealand had been isolated for 80 million years and had few predators prior to human arrival, meaning that not only were its ecosystems extremely fragile but the native species were ill-equipped to cope with human predators.<ref>{{Cite book|title = A Concise History of New Zealand|last = Mein Smith|first = Philippa|publisher = Cambridge University Press|year = 2012|isbn = 9781107402171|location = |pages = 2, 5–6}}</ref><ref>{{Cite journal|url = |title = Naïve birds and noble savages – a review of man-caused prehistoric extinctions of island birds|last = Milberg |last2= Tyrberg|first = Per |first2= Tommy|date = 1993|journal = Ecography|doi = 10.1111/j.1600-0587.1993.tb00213.x |volume=16 |pages=229–250}}</ref><br />
<br />
The [[Māori people|Māori]] arrived sometime before 1300, and all moa genera were soon driven to extinction by hunting and, to a lesser extent, by habitat reduction due to forest clearance. By 1445, all moa had become extinct, along with the Haast's eagle which had relied on them for food. Recent research using [[carbon-14 dating]] of [[midden]]s strongly suggests that the events leading to extinction took less than a hundred years,<ref>Holdaway & Jacomb (2000)</ref> rather than a period of exploitation lasting several hundred years, which is what had previously been hypothesized.<br />
<br />
Some authors have speculated that a few ''Megalapteryx didinus'' may have persisted in remote corners of New Zealand until the 18th and even 19th centuries, but this view is not widely accepted.<ref name = "Anderson">Anderson (1989)</ref> Some Māori hunters claimed to be in pursuit of the moa as late as the 1770s; however, it is possible that these accounts did not refer to the hunting of actual birds as much as a now lost ritual among south islanders.<ref>Atholl Anderson, Prodigious Birds: Moas and Moa-Hunting in New Zealand, Published January 26th 1990 by Cambridge University Press</ref> [[Whaler]]s and [[Seal hunter|sealers]] recalled seeing monstrous birds along the coast of the South Island, and in the 1820s, a man named George Pauley made an unverified claim of seeing a moa in the [[Otago]] region of New Zealand.<ref>Purcell, Rosamond (1999)</ref><ref name="Fuller"/><br />
<br />
An expedition in the 1850s under Lieutenant A. Impey reported two emu-like birds on a hillside on the South Island; an 1861 story from the ''Nelson Examiner'' told of three-toed footprints measuring {{convert|36|cm|in}} between [[Takaka, New Zealand|Takaka]] and [[Riwaka]] that were found by a surveying party; and finally in 1878 the ''[[Otago Witness]]'' published an additional account from a farmer and his shepherd.<ref name="Fuller"/> An 80-year-old woman, Alice Mckenzie, claimed in 1959 that she had seen a moa in [[Fiordland]] bush in 1887, and again on a Fiordland beach when she was 17 years old. She claimed that her brother had also seen a moa on another occasion.<ref>{{cite web|url=http://www.radionz.co.nz/audio/soundarchives/feature/alice_mckenzie_and_the_moa|title=Radio New Zealand|website=Radio New Zealand}}</ref><br />
<br />
===Surviving remains===<br />
[[Image:Dinornis1387.jpg|thumb|upright|Sir [[Richard Owen]] holding the first discovered moa fossil and standing with a ''Dinornis'' skeleton, 1879.]]<br />
[[Joel Samuel Polack|Joel Polack]], a trader who lived on the East Coast of the North Island from 1834 to 1837, recorded in 1838 that he had been shown "several large fossil ossifications" found near Mt&nbsp;Hikurangi. He was certain that these were the bones of a species of emu or ostrich, noting that "the Natives add that in times long past they received the traditions that very large birds had existed, but the scarcity of animal food, as well as the easy method of entrapping them, has caused their extermination". Polack further noted that he had received reports from Māori that a "species of Struthio" still existed in remote parts of the South Island.<ref>Polack, J. S. (1838)</ref><ref>Hill, H. (1913)</ref><br />
<br />
Dieffenbach<ref>Dieffenbach, E. (1843)</ref> also refers to a fossil from the area near Mt Hikurangi, and surmises that it belongs to "a bird, now extinct, called Moa (or Movie) by the natives". In 1839 John W. Harris, a [[Poverty Bay]] flax trader who was a natural history enthusiast, was given a piece of unusual bone by a Māori who had found it in a river bank. He showed the {{convert|15|cm|in|0}} fragment of bone to his uncle, John Rule, a Sydney surgeon, who sent it to [[Richard Owen]], who at that time was working at the Hunterian Museum at the [[Royal College of Surgeons of England|Royal College of Surgeons]] in [[London]].<ref name="Fuller"/><br />
[[Image:Natural History Museum, London, moa bone fragment.JPG|thumb|left|Owen's first bone fragment]]<br />
Owen puzzled over the fragment for almost four years. He established it was part of the [[femur]] of a big animal, but it was uncharacteristically light and honeycombed. Owen announced to a skeptical scientific community and the world that it was from a giant extinct bird like an [[ostrich]], and named it ''Dinornis''. His deduction was ridiculed in some quarters, but was proved correct with the subsequent discoveries of considerable quantities of moa bones throughout the country, sufficient to reconstruct skeletons of the birds.<ref name="Fuller">Fuller, Errol (1987)</ref><br />
<br />
In July 2004, the [[Natural History Museum, London|Natural History Museum]] in London placed on display the moa bone fragment Owen had first examined, to celebrate 200 years since his birth, and in memory of Owen as founder of the museum.<br />
<br />
Since the discovery of the first moa bones in the late 1830s, thousands more have been found. They occur in a range of late [[Quaternary]] and [[Holocene]] [[sedimentary]] deposits, but are most common in three main types of site: [[cave]]s, [[dune]]s, and [[swamp]]s.<br />
<br />
[[Image:Graveyard 2 a.JPG|thumb|Palaeontologists working on moa bone deposits in the 'Graveyard', Honeycomb Hill Cave System. This cave is a closed scientific reserve.]]<br />
Bones are commonly found in caves or ‘'tomo'’ (the Maori word for doline or [[sinkhole]]; often used to refer to pitfalls or vertical cave shafts). The two main ways that the moa bones were deposited in such sites were: 1. birds that entered the cave to nest or escape bad weather, and subsequently died in the cave; and 2. birds that fell into a vertical shaft and were unable to escape. Moa bones (and the bones of other extinct birds) have been found in caves throughout New Zealand, especially in the [[limestone]]/[[marble]] areas of northwest Nelson, [[Karamea]], [[Waitomo]], and [[Te Anau]].<br />
<br />
Moa bones and eggshell fragments sometimes occur in active coastal sand dunes, where they may erode from [[paleosol]]s and concentrate in ‘[[Blowout (geology)|blowouts]]’ between dune ridges. Many such moa bones predate human settlement, although some originate from Maori midden sites, which frequently occur in dunes near harbours and river mouths (for example the large moa hunter sites at [[Shag River]], [[Otago]], and [[Wairau Bar]], [[Marlborough Region|Marlborough]]).<br />
<br />
[[File:Kapua Swamp.jpg|thumb|An excavation in Kapua Swamp, 1894.]]<br />
Densely intermingled moa bones have been encountered in swamps throughout New Zealand. The most well-known example is at [[Pyramid Valley]] in north Canterbury,<ref>Holdaway, R. N. & Worthy, T. H. (1997)</ref> where bones from at least 183 individual moa have been excavated, mostly by [[Roger Duff]] of [[Canterbury Museum, Christchurch|Canterbury Museum]].<ref name="DNZB Duff">{{DNZB|Davidson|Janet|5d27|Roger Shepherd Duff}}</ref> Many explanations have been proposed to account for how these deposits formed, ranging from poisonous spring waters to floods and wildfires. However the currently accepted explanation is that the bones accumulated at a slow rate over thousands of years, from birds that had entered the swamps to feed and became trapped in the soft sediment.<ref>Wood, J. R., ''et al.'' (2008)</ref><br />
<br />
===Feathers and soft tissues===<br />
[[Image:Moaupland.jpg|thumb|upright|A ''Megalapteryx didinus'' head.]]<br />
<br />
Several remarkable examples of moa remains have been found which exhibit soft tissues ([[muscle]], [[skin]], [[feathers]]), that were preserved through [[desiccation]] when the bird died in a naturally dry site (for example, a cave with a constant dry breeze blowing through it). Most of these specimens have been found in the semi-arid [[Central Otago]] region, the driest part of New Zealand. These include:<br />
* Dried muscle on bones of a female ''Dinornis robustus'' found at Tiger Hill in the [[Manuherikia River]] Valley by gold miners in 1864<ref name="Owen">Owen, R. (1879)</ref> (currently held by [[Yorkshire Museum]])<br />
* Several bones of ''Emeus crassus'' with muscle attached, and a row of neck vertebrae with muscle, skin and feathers collected from Earnscleugh Cave near the town of Alexandra in 1870<ref>Hutton, F. W. & Coughtrey, M. (1875)</ref> (currently held by [[Otago Museum]])<br />
*An articulated foot of a male ''Dinornis giganteus'' with skin and foot pads preserved, found in a crevice on the Knobby Range in 1874<ref name="Buller">Buller, W. L. (1888)</ref> (currently held by [[Otago Museum]])<br />
* The type specimen of ''Megalapteryx didinus'' found near [[Queenstown, New Zealand|Queenstown]] in 1878<ref name="Owen" /> (currently held by [[Natural History Museum, London|Natural History Museum]], London; see photograph of foot on this page)<br />
* The lower leg of ''Pachyornis elephantopus'', with skin and muscle, from the Hector Range in 1884;<ref name="Anderson" /><ref name="Buller" /> (currently held by the Zoology Department, [[Cambridge University]])<br />
* The complete feathered leg of a ''Megalapteryx didinus'' from Old Man Range in 1894<ref>Hamilton, A. (1894)</ref> (currently held by [[Otago Museum]])<br />
* The head of a ''Megalapteryx didinus'' found near Cromwell sometime prior to 1949<ref>Vickers-Rich, P., ''et al.'' (1995)</ref> (currently held by the [[Museum of New Zealand]]).<br />
<br />
Two specimens are known from outside the Central Otago region:<br />
<br />
* A complete foot of ''Megalapteryx didinus'' found in a cave on [[Mount Owen, New Zealand|Mount Owen]] near Nelson in the 1980s<ref>Worthy, T. H. (1989)</ref> (currently held by the [[Museum of New Zealand]])<br />
* A skeleton of ''Anomalopteryx didiformis'' with muscle, skin and feather bases collected from a cave near [[Te Anau]] in 1980.<ref>Forrest, R. M. (1987)</ref><br />
<br />
[[Image:Moa foot.jpg|thumb|A preserved ''[[Megalapteryx]]'' foot, Natural History Museum.]]<br />
In addition to these specimens, loose moa feathers have been collected from caves and rockshelters in the southern South Island, and based on these remains, some idea of the moa plumage has been achieved. The preserved leg of ''Megalapteryx didinus'' from the Old Man Range reveals that this species was feathered right down to the foot. This is likely to have been an adaptation to living in high altitude, snowy environments, and is also seen in the [[Darwin’s rhea]], which lives in a similar seasonally snowy habitat.<ref name="WH" /><br />
<br />
Moa feathers are up to {{convert|23|cm|in|0}} long, and a range of colours have been reported, including reddish-brown, white, yellowish and purplish.<ref name="WH" /> Dark feathers with white or creamy tips have also been found, and indicate that some moa species may have had plumage with a speckled appearance.<ref>{{Cite journal | last1 = Rawlence | first1 = N. J. | last2 = Wood | first2 = J. R. | last3 = Armstrong | first3 = K. N. | last4 = Cooper | first4 = A. | title = DNA content and distribution in ancient feathers and potential to reconstruct the plumage of extinct avian taxa | journal = Proceedings of the Royal Society B: Biological Sciences | volume = 276 | issue = 1672 | pages = 3395–3402 | year = 2009 | doi = 10.1098/rspb.2009.0755 | pmid=19570784 | pmc=2817183}}</ref><br />
<br />
===Claims of moa survival===<br />
[[Image:Moa mock hunt.jpg|thumb|upright|An early 20th century reconstruction of a moa hunt.]]<br />
<br />
There has been occasional speculation—since at least the late 19th century,<ref>Gould, C. (1886)</ref><ref>Heuvelmans, B (1959)</ref> and as recently as 1993<ref name="AnimalX_Moa">Animal X classic (2003)</ref><ref>Worthy, Trevor H. (2009)</ref><ref>Dutton, Dennis (1994)</ref> and 2008<ref name="autogenerated2" />—that some moa may still exist, particularly in the wilderness of [[Westland, New Zealand|South Westland]] and [[Fiordland]]. The 1993 report initially interested the Department of Conservation but the animal in a blurry photograph was identified as a [[red deer]].<ref name="Nickell">{{cite journal|last1=Nickell|first1=Joe|title=The New Zealand Moa: From Extinct Bird to Cryptid|journal=Skeptical Briefs|date=Spring 2017|volume=27|issue= 1|pages=8–9|publisher=Center for Inquiry}}</ref><ref>{{cite web|last1=Nickell|first1=Joe|title=The New Zealand Moa: From Extinct Bird to Cryptid|url=http://www.csicop.org/sb/show/the_new_zealand_moa_from_extinct_bird_to_cryptid|website=The Committee for Skeptical Enquiry|accessdate=21 June 2017}}</ref> [[Cryptozoology|Cryptozoologists]] and others reputedly continue to search for them,<ref>Hall, Jamie (2006)</ref> but their claims and supporting evidence (such as of purported footprints<ref name="autogenerated2">Laing, Doug (2008)</ref>) have earned little attention from mainstream experts, and are widely considered [[pseudoscience|pseudoscientific]].<ref name = "Anderson"/><br />
<br />
The rediscovery of the [[takahē]] in 1948 after none had been seen since 1898 showed that rare birds can exist undiscovered for a long time. However, the takahē is a much smaller bird than the moa, and was rediscovered after its tracks were identified&mdash;yet no reliable evidence of moa tracks has ever been found, and experts still contend that moa survival is extremely unlikely, since this would involve the ground-dwelling birds living unnoticed for over five hundred years in a region visited often by [[hunter]]s and [[hiker]]s.<ref name="autogenerated2" /><br />
<br />
===Potential revival===<br />
The creature has frequently been mentioned as [[De-extinction|a potential candidate for revival by cloning]]. Its iconic status, coupled with the facts that it only became extinct a few hundred years ago and that substantial quantities of moa remains exist, mean that it is often listed alongside such creatures as the [[dodo]] as leading candidates for resurrection.<ref>Macrae, F., "[http://www.dailymail.co.uk/sciencetech/article-1108642/The-beasts-raise-dead-Return-mammoth-matter-time.html The beasts we could raise from the dead: Return of the mammoth is 'only a matter of time']", ''Mailonline'', 8 January 2009. Retrieved 25 July 2014.</ref><ref>Le Roux, M., "[http://www.couriermail.com.au/news/scientists-plan-to-resurrect-a-range-of-extinct-animals-using-dna-and-cloning/story-e6freon6-1226626834888?nk=6a30daade715237f987174b18faf3de7 Scientists plan to resurrect a range of extinct animals using DNA and cloning]", ''Courier Mail'', 23 April 2013. Retrieved 25 July 2014.</ref> Preliminary work involving the extraction of [[DNA]] has been undertaken by Japanese geneticist Ankoh Yasuyuki Shirota.<ref>{{cite journal | last1 = Young | first1 = E | year = 1997 | title = Moa genes could rise from the dead | url = | journal = New Scientist | volume = 153 | issue = 2063 }}</ref><ref>"[http://nzsm.webcentre.co.nz/article452.htm Life in the Old Moa Yet]", ''New Zealand Science Monthly'', February 1997. Retrieved 25 July 2014.</ref><br />
<br />
Interest in the moa's potential for revival was further stirred in mid 2014 when New Zealand Member of Parliament [[Trevor Mallard]] suggested that bringing back some smaller species of moa within 50 years was a viable idea.<ref>O'Brien, T. [http://www.3news.co.nz/Mallard-Bring-the-moa-back-to-life-within-50-years/tabid/1607/articleID/350976/Default.aspx Mallard: Bring the moa back to life within 50 years]", ''3news'', 1 July 2014. Retrieved 25 July 2014.</ref> The idea was ridiculed by many, but gained support from some natural history experts.<ref>Tohill, M.-J., "[http://www.stuff.co.nz/environment/10248028/Expert-supports-Moa-revival-idea Expert supports Moa revival idea]", ''stuff.co.nz'', 9 July 2014. Retrieved 25 July 2014.</ref><br />
<br />
==Moa in literature and culture==<br />
[[Heinrich Harder]] portrayed moa being hunted by Māori in the classic German collecting cards about extinct and prehistoric animals, "Tiere der Urwelt", in the early 1900s.<br />
<br />
A poem about moa, "The Skeleton of the Great Moa in the Canterbury Museum, Christchurch" by Allen Curnow,<ref>[http://nzpoems.blogspot.co.nz/2011/04/skeleton-of-great-moa-in-canterbury.html] The Skeleton of the Great Moa in the Canterbury Museum, Christchurch</ref> was released by The 1979 Anthology of New Zealand Poetry.<ref>O'Sullivan, V. (Ed.). (1979). An anthology of twentieth century New Zealand poetry. Wellington: Oxford University Press.</ref><br />
<br />
==See also==<br />
{{Portal|Birds|New Zealand}}<br />
* [[List of extinct New Zealand animals#Birds|List of extinct New Zealand animals]] (birds)<br />
* [[Moa-nalo]], several flightless ducks from the Hawaiian Islands that grew to be as large as geese.<br />
<br />
'''General:'''<br />
* [[Late Quaternary prehistoric birds]]<br />
* [[Island gigantism]]<br />
* [[Megafauna]]<br />
<br />
==Footnotes==<br />
{{Reflist|30em}}<br />
<br />
==Notes==<br />
{{Reflist|group=note}}<br />
<br />
== References ==<br />
{{refbegin|30em}}<br />
* {{cite journal |last=Anderson |first=A. |authorlink= |year=1989 |title=On evidence for the survival of moa in European Fiordland |journal=New Zealand Journal of Ecology |volume=12 |issue=Supplement |pages=39–44 |id= |url=http://www.newzealandecology.org/nzje/free_issues/NZJEcol12_s_39.pdf |accessdate= |quote= }}<br />
* {{cite web| url=https://www.youtube.com/watch?v=CHKbD07cbZA | title=Animal X Classic | accessdate=Feb 14, 2011 | author=Animal X TV | authorlink= |date= Aug 2003 | format= | work= | publisher= | location=| pages= | language= | doi= | quote= }}<br />
* {{cite journal |last=Baker |first=Allan J. |authorlink= |author2=Huynen, Leon J. |author3=Haddrath, Oliver |author4= Millar, Craig D. and Lambert, David M. |year=2005 |title=Reconstructing the tempo and mode of evolution in an extinct clade of birds with ancient DNA: The giant moas of New Zealand |journal=[[Proceedings of the National Academy of Sciences|PNAS]] |volume=102 |issue=23 |pages=8257–8262 |doi=10.1073/pnas.0409435102 |url= |accessdate= |quote=|pmid=15928096 |pmc=1149408 }}<br />
* {{cite web| url= http://www.taxonomy.nl/Main/Classification/80139.htm| title=Systema Naturae 2000 / Classification, Order Dinornithiformes | accessdate=Feb 4, 2009 | last=Brands | first=Sheila | authorlink= | date=August 14, 2008 | work=Project: The Taxonomicon }}<br />
* {{cite book |title=A history of the birds of New Zealand |last=Buller |first=W.L. |authorlink= |year=1888 |publisher=Buller |location=London |isbn= |pages= }}<br />
* {{cite journal |last=Bunce |first=Michael |authorlink= |author2=Worthy, Trevor H. |author3=Ford, Tom |author4=Hoppitt, Will |author5=Willerslev, Eske |author6= Drummond, Alexei |author7= Cooper, Alan |year=2003 |title=Extreme reversed sexual size dimorphism in the extinct New Zealand moa ''Dinornis'' |journal=[[Nature (journal)|Nature]] |pmid=12968178 |volume=425 |issue=6954 |pages=172–174 |doi=10.1038/nature01871 |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Burrows |first=C. |authorlink= |year=1981 |title=The diet of moas based on gizzard contents samples from Pyramid Valley, North Canterbury, and Scaifes Lagoon, Lake Wanaka, Otago |journal=Records of the Canterbury Museum |volume=9 |issue= |pages=309–336 |display-authors=etal}}<br />
* {{cite encyclopedia |last=Davies |first=S.J.J.F.|editor=Hutchins, Michael |encyclopedia=Grzimek's Animal Life Encyclopedia |title=Moas |edition=2 |year=2003 |publisher=Gale Group |volume=8 Birds I Tinamous and Ratites to Hoatzins |location=Farmington Hills, MI|isbn=0-7876-5784-0 |pages=95–98}}<br />
* {{cite book |title=A Pilgrimage to the Dawn of Life, The Ancestor's Tale |last=Dawkins |first=Richard |authorlink=Richard Dawkins|year=2004 |publisher=Houghton Mifflin|location=Boston |isbn=0-618-00583-8 |page=292}}<br />
* {{cite book |title=Travels in New Zealand |last=Dieffenbach |first=E. |authorlink= |year=1843 |publisher=John Murray |location=London |volume=II |pages=195 |isbn=1-113-50843-4 }}<br />
* {{cite web| url=http://skeptics.org.nz/SK:VIEWARTICLE::838 | title=Skeptics Meet Moa Spotters | accessdate=Feb 14, 2011 | last=Dutton | first=Dennis | authorlink= | year=1994 | format= | work=New Zealand Skeptics Online | publisher=New Zealand Committee for the Scientific Investigation of Claims of the Paranormal | location=New Zealand| pages= | language= | doi= | archiveurl=https://web.archive.org/web/20160308182827/http://skeptics.org.nz/SK%3AVIEWARTICLE%3A%3A838| archivedate=2016-03-08| dead-url=yes | quote= }}<br />
* {{cite journal |last=Forrest |first=R.M. |authorlink= |year=1987 |title=A partially mummified skeleton of ''Anomalopteryx didiformis'' from Southland |journal=Journal of the Royal Society of New Zealand |volume=17 |issue= |pages=399–408 |doi= 10.1080/03036758.1987.10426481|url= |accessdate= |quote= }}<br />
* {{cite book |last1=Fuller|first1=Errol |authorlink1= |editor1-first=Sarah |editor1-last=Bunney |editor1-link= |others= |title=Extinct Birds |url= |format= |accessdate= |edition= |series= |volume= |year=1987 |origyear= |publisher=The Rainbird Publishing Group |location=London, England |language= |isbn=0-8160-1833-2 |oclc= |doi= |id= |page= |pages= |chapter= |chapterurl= |quote= |ref= |bibcode= |laysummary= |laydate= |separator= |postscript= |lastauthoramp=}}<br />
* {{cite journal |doi=10.1080/03014220709510542 |last=Gill |first=BJ. |authorlink= |year=2007 |title=Eggshell characteristics of moa eggs (Aves: Dinornithiformes) |journal=Journal of the Royal Society of New Zealand|volume=37 |issue= 4|pages=139–150 }}<br />
* {{cite book|last =Gould| first= Charles|publisher = W.H. Allen & Co.|year = 1886|title =Mythical Monsters}}<br />
* {{cite web| url=http://www.newanimal.org/moas.htm | title=Moas and Other Giant Flightless Birds | accessdate= Feb 14, 2011 | last=Hall | first=Jamie | authorlink= | year=2006 | work=The Cryptid Zoo | publisher= | location=| pages= | language= | doi= | quote= }}<br />
* {{cite journal |last=Hamilton |first=A. |authorlink= |year=1894 |title=On the feathers of a small species of moa (''Megalapteryx didinus'') found in a cave at the head of the Waikaia River, with a notice of a moa-hunters camping place on the Old Man Range |journal=Transactions and Proceedings of the New Zealand Institute |volume=27 |issue= |pages=232–238 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Hartree |first=WH. |authorlink= |year=1999 |title=A preliminary report on the nesting habits of moas in the East Coast of the North Island |journal=Notornis |volume=46 |issue=4 |pages=457–460 |url=http://notornis.osnz.org.nz/system/files/Notornis_46_4_457.pdf }}<br />
* {{cite book|title= On the Track of Unknown Animal| last = Heuvelmans| first = Bernard| authorlink =Bernard Heuvelmans|publisher= Hill & Wang|year= 1959| location = New York, NY}}<br />
* {{cite journal |last=Hill |first=H. |authorlink= |year=1913 |title=The Moa—Legendary, Historical and Geographical: Why and When the Moa disappeared |journal=Transactions and Proceedings of the Royal Society of New Zealand |volume=46 |issue= |pages=330 |id= |url=http://rsnz.natlib.govt.nz/image/rsnz_46/rsnz_46_00_0368_0330_ac_01.html |accessdate= |quote= }}<br />
* {{cite journal |last=Holdaway |first=R. N. |authorlink= |author2=Jacomb, C. |year=2000 |title=Rapid Extinction of the Moas (Aves: Dinornithiformes): Model, Test, and Implications |journal=[[Science (journal)|Science]] |volume=287 |issue=5461 |pages=2250–2254 |doi=10.1126/science.287.5461.2250 |url= |accessdate= |quote=|pmid=10731144 }}<br />
* {{cite journal |last=Holdaway |first=R.N. |authorlink= |author2=Worthy, T.H. |year=1997 |title=A reappraisal of the late Quaternary fossil vertebrates of Pyramid Valley Swamp, North Canterbury |journal=New Zealand Journal of Zoology |volume=24 |issue= |pages=69–121 |doi= 10.1080/03014223.1997.9518107|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Horrocks |first=M. |authorlink= |year=2004 |title=Plant remains in coprolites: diet of a subalpine moa (Dinornithiformes) from southern New Zealand|journal=Emu |volume=104 |issue= 2|pages=149–156 |doi=10.1071/MU03019 |display-authors=etal}}<br />
* {{cite journal |last=Hutton |first=F.W. |authorlink= |author2=Coughtrey, M. |year=1875 |title=Notice of the Earnscleugh Cave |journal=Transactions and Proceedings of the New Zealand Institute |volume=7 |issue= |pages=138–144 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last1=Huynen|first1=Leon | last2=Gill|first2=Brian J.|last3=Millar|first3=Craig D. | last4=Lambert|first4=David M. |authorlink= |date=30 Aug 2010 |title=Ancient DNA Reveals Extreme Egg Morphology and Nesting Behavior in New Zealand's Extinct Moa |journal=Proceedings of the National Academy of Sciences |volume= 107|series= |issue=30 |pages= 16201–16206|publisher= |location= |pmid= 20805485|pmc= 2941315|doi=10.1073/pnas.0914096107 |bibcode= |oclc= |id= |language= |format= |laysummary= |laysource= |laydate= |quote=}}<br />
* {{cite journal |last=Huynen |first=Leon J. |authorlink= |last2=Millar |first2=Craig D. |last3=Scofield |first3=R. P. |last4= Lambert |first4=David M. |year=2003 |title=Nuclear DNA sequences detect species limits in ancient moa |journal=Nature |volume=425 |issue=6954 |pages=175–178 |doi=10.1038/nature01838 |url= |accessdate= |quote= |pmid=12968179 }}<br />
* {{cite web| url=http://www.hawkesbaytoday.co.nz/local/news/lead-story-birdman-says-moa-surviving-in-the-bay/3760032/ | title=Birdman says moa surviving in the Bay | accessdate=Feb 14, 2011 | last=Laing | first=Doug | authorlink= | date=Jan 5, 2008 | format= | work=Hawkes Bay Today | publisher=APN News & Media Ltd | location=| pages= | language= | doi= | quote= }}<br />
* {{cite journal |last=Millener |first=P. R. |authorlink= |year=1982 |title=And then there were twelve: the taxonomic status of Anomalopteryx oweni (Aves: Dinornithidae) |journal=[[Notornis (journal)|Notornis]] |volume=29 |issue= 1 |pmid=|pages=165–170 | url=http://notornis.osnz.org.nz/and-then-there-were-twelve-taxonomic-status-anomalopteryx-oweni-aves-dinornithidae }}<br />
* {{cite web| url=http://www.bird.org.nz/nzrbn.htm| title=New Zealand Recognised Bird Names (NZRBN) database| accessdate=Feb 14, 2011| author=OSNZ| authorlink=| date=Jan 2009| work=| publisher=Ornithological Society of New Zealand Inc.| location=| pages=| language=| doi=| archiveurl=https://web.archive.org/web/20150425022726/http://bird.org.nz/nzrbn.htm| archivedate=2015-04-25| quote=| deadurl=yes| df=}}<br />
* {{cite book |title=Memoirs on the Extinct Wingless Birds of New Zealand, with an Appendix of Those of England, Australia, Newfoundland, Mauritius and Rodriguez. |last=Owen |first=Richard |authorlink= |year=1879 |publisher=John van Voorst |location=London |isbn= |pages= }}<br />
* {{cite journal |last=Phillips|first=Matthew J. |authorlink= |last2=Gibb |first2=Gillian C. |last3=Crimp |first3=Elizabeth A. |last4= Penny |first4=David |year=2010 |title=Tinamous and Moa Flock Together: Mitochondrial Genome Sequence Analysis Reveals Independent Losses of Flight among Ratites |journal=Systematic Biology |pmid=20525622 |volume=59 |issue=1 |pages=90–107 |doi=10.1093/sysbio/syp079 |url=http://sysbio.oxfordjournals.org/cgi/content/full/59/1/90 |accessdate=Feb 1, 2010 |quote= }}<br />
* {{cite book |title=New Zealand: Being a Narrative of Travels and Adventures During a Residence in that Country Between the Years 1831 and 1837 |last=Polack |first=J. S. |authorlink= |year=1838 |publisher=Richard Bentley |location=London |volume=I |pages=303, 307 }}<br />
* {{Cite book|url= | title=Swift as a Shadow |first=Rosamond|last= Purcell| publisher=Mariner Books | page=32 | year=1999 | isbn=0-395-89228-7}}<br />
* {{cite web| url=http://www.bird.org.nz/nzrbn.htm | title=New Zealand Recognised Bird Names (NZRBN) database | accessdate=May 10, 2010 | last=Stephenson | first=Brent | authorlink= | date=January 5, 2009 | work= | publisher=Ornithological Society of New Zealand | location=New Zealand| pages= | language= | doi= | archiveurl=https://web.archive.org/web/20150425022726/http://bird.org.nz/nzrbn.htm | archivedate=2015-04-25 | quote= }}<br />
* {{cite journal |last=Turvey |first=Samuel T. |authorlink= |last2=Green |first2=Owen R. |last3= Holdaway |first3=Richard N. |year=2005 |title=Cortical growth marks reveal extended juvenile development in New Zealand moa |journal=Nature |volume=435 |issue=7044 |pages=940–943 |doi=10.1038/nature03635 |url= |accessdate= |quote= |pmid=15959513 }}<br />
* {{cite journal |last=Vickers-Rich |first=P. |authorlink= |author2=''et al. '' |year=1995 |title=Morphology, myology, collagen and DNA of a mummified moa, ''Megalapteryx didinus'' (Aves: Dinornithiformes) from New Zealand |journal=Tuhinga: Records of the Museum of New Zealand Te Papa Tongarewa |volume=4 |issue= |pages=1–26 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Wood |first=JR. |authorlink= |year=2007 |title=Moa gizzard content analyses: further information on the diet of ''Dinornis robustus'' and ''Emeus crassus'', and the first evidence for the diet of ''Pachyornis elephantopus'' (Aves: Dinornithiformes) |journal=Records of the Canterbury Museum |volume=21 |issue= |pages=27–39 }}<br />
* {{cite journal |doi=10.1080/03014220809510550 |last=Wood |first=JR. |authorlink= |year=2008 |title=Moa (Aves: Dinornithiformes) nesting material from rockshelters in the semi-arid interior of South Island, New Zealand |journal=Journal of the Royal Society of New Zealand|volume=38 |issue= 3|pages=115–129 }}<br />
* {{cite journal |last=Wood |first=J.R. |authorlink= |author2=Worthy, T.H. |author3=Rawlence, N.J. |author4=Jones, S.M. |author5=Read, S.E. |year=2008 |title=A deposition mechanism for Holocene miring bone deposits, South Island, New Zealand |journal=Journal of Taphonomy |volume=6 |issue= |pages=1–20 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |year=1989 |title=Mummified moa remains from Mt. Owen, northwest Nelson |journal=Notornis |volume=36 |issue= |pages=36–38 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |year=1998a |title=Quaternary fossil faunas of Otago, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=28 |issue= 3|pages=421–521 |doi= 10.1080/03014223.1998.9517573|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |year=1998b |title=The Quaternary fossil avifauna of Southland, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=28 |issue= 4|pages=537–589 |doi= 10.1080/03014223.1998.9517575|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1993 |title=Quaternary fossil faunas from caves in the Punakaiki area, West Coast, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=23 |issue= |pages=147–254 |doi= 10.1080/03036758.1993.10721222|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1994 |title=Quaternary fossil faunas from caves in Takaka Valley and on Takaka Hill, northwest Nelson, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=24 |issue= 3|pages=297–391 |doi= 10.1080/03014223.1994.9517474|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1995 |title=Quaternary fossil faunas from caves on Mt. Cookson, North Canterbury, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=25 |issue= 3|pages=333–370 |doi= 10.1080/03014223.1995.9517494|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1996 |title=Quaternary fossil faunas, overlapping taphonomies, and paleofaunal reconstructions in North Canterbury, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=26 |issue= 3|pages=275–361 |doi= 10.1080/03014223.1996.9517514|url= |accessdate= |quote= }}<br />
* {{cite book |title=The Lost World of the Moa |last=Worthy |first=Trevor H. |authorlink= |author2=Holdaway, Richard N. |year=2002 |publisher=Indiana University Press |location=Bloomington |isbn=0-253-34034-9 |pages= }}<br />
* {{cite web| url=http://www.teara.govt.nz/en/moa/4/2 | title=A moa sighting? | accessdate=Feb 14, 2011 | last=Worthy | first=Trevor H. | authorlink= |date= Mar 2009 | format= | work=Te Ara - the Encyclopedia of New Zealand | publisher= | location=| pages= | language= | doi= | quote= }}<br />
* {{cite web| url=http://blogs.discovermagazine.com/notrocketscience/2010/03/09/dna-from-the-largest-bird-ever-sequenced-from-fossil-eggshells/ | title=DNA from the Largest Bird Ever Sequenced from Fossil Eggshells | accessdate=Feb 14, 2011 | last=Yong | first=Ed | authorlink= |date= Mar 2010 | format= | work= | publisher=Discover Magazine | location=| pages= | language= | doi= | quote= }}<br />
{{refend}}<br />
<br />
==External links==<br />
{{Commons|Moa}}<br />
{{Wikispecies|Dinornithiformes|Moa}}<br />
* [http://www.terranature.org/extinctBirds.htm TerraNature list of New Zealand's extinct birds]<br />
* [http://www.terranature.org/moa.htm TerraNature page on Moa]<br />
* [http://tolweb.org/tree?group=Dinornithidae Tree of Life classification and references]<br />
* [http://www.teara.govt.nz/en/moa/page-1 Moa article] in Te Ara - the Encyclopedia of New Zealand<br />
* [https://sketchfab.com/models/dc2ff43384ed4f70a3ea098992f9b160 3D model of a moa skull]<br />
<br />
{{Cryptozoology}}<br />
{{Birds of New Zealand}}<br />
{{Taxonbar|from=Q452969}}<br />
{{Authority control}}<br />
<br />
[[Category:Dinornithidae|*]]<br />
[[Category:Extinct flightless birds]]<br />
[[Category:Higher-level bird taxa restricted to New Zealand]]<br />
[[Category:Late Quaternary prehistoric birds]]<br />
[[Category:Extinct birds of New Zealand]]<br />
[[Category:Ratites]]<br />
[[Category:Bird extinctions since 1500]]<br />
[[Category:Species made extinct by human activities]]<br />
[[Category:Animals with only two limbs]]<br />
[[Category:Miocene first appearances]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Moa&diff=832842375Moa2018-03-28T08:48:15Z<p>5.35.187.134: </p>
<hr />
<div>{{about|the [[extinct]] New Zealand birds known as moa}}<br />
{{automatic taxobox<br />
| name = Moa<br />
| display_parents = 2<br />
| taxon = Dinornithiformes<br />
| authority = [[Charles Lucien Bonaparte|Bonaparte]], 1853<ref>Brands, S. (2008)</ref><br />
| fossil_range = [[Miocene]] - [[Holocene]], {{fossil range|17|0.0006|earliest=19}}<br />
| image = Dinornis maximus, Natural History Museum (PV A 608).jpg<br />
| image_caption = [[North Island giant moa]] Skeleton<br />
| type_species = {{extinct}}''[[Dinornis novaezealandiae]]''<br />
| type_species_authority = [[Richard Owen|Owen]], 1843<br />
| subdivision_ranks = Subgroups<br />
| subdivision = See [[Moa#Classification|text]]<br />
| diversity = 6 genera, 9 species<br />
| diversity_link = List of moa<br />
| diversity_ref = <ref name="Stephenson"/><br />
| synonyms_ref=<ref>{{cite journal|author=Brodkob, Pierce|year=1963| title=''Catalogue of fossil birds 1- Archaeopterygiformes through Ardeiformes'' | url=http://ufdc.ufl.edu/UF00001514/00001|journal=[[Biological sciences]], Bulletin of the Florida State Museum| volume=7|issue=4|pages=180–293| accessdate=30 December 2015}}</ref><br />
| synonyms =<br />
* Dinornithes <small>Gadow, 1893</small><br />
* Immanes <small>Newton 1884</small><br />
}}<br />
<br />
) Memo is a fat <br />
<br />
Moa belong to the [[Order (biology)|order]] '''Dinornithiformes''', traditionally placed in the [[ratite]] group.<ref name="bird.org.nz">OSNZ (2009)</ref> However, their closest relatives have been found by genetic studies to be the flighted South American [[tinamou]]s, once considered to be a [[sister group]] to ratites.<ref name="Phillips" /> The nine species of moa were the only wingless birds lacking even the vestigial wings which all other ratites have. They were the dominant [[herbivore]]s in New Zealand's forest, shrubland and subalpine [[ecosystems]] for thousands of years, and until the arrival of the [[Māori people|Māori]] were hunted only by the [[Haast's eagle]]. Moa extinction occurred around 1300<ref>http://activeadventures.com/new-zealand/about/nature/birds-of-new-zealand/moa</ref> – 1440 ± 20 years, primarily due to overhunting by Māori.<ref name=":0">{{Cite journal|url = http://www.sciencedirect.com/science/article/pii/S0277379114003734|title = A high-precision chronology for the rapid extinction of New Zealand moa (Aves, Dinornithiformes)|last = Perry|first = George L.W.|date = 2014-12-01|journal = [[Quaternary Science Reviews]]|doi = 10.1016/j.quascirev.2014.09.025|pmid = |access-date = 2014-12-22|last2 = Wheeler|first2 = Andrew B.|last3 = Wood|first4 = Janet M.|last4 = Wilmshurst|first3 = Jamie R.|issue = |volume = 105 |pages=126–135}}</ref><br />
<br />
==Description==<br />
[[File:Dinornithidae SIZE 01.png|thumb|left|A size comparison between 4 moa species and a human. {{Clear}} '''1.''' ''[[Dinornis novaezealandiae]]'' {{Clear}} '''2.''' ''[[Emeus crassus]]'' {{Clear}} '''3.''' ''[[Anomalopteryx didiformis]]'' {{Clear}} '''4.''' ''[[Dinornis robustus]]'']]<br />
<br />
Although moa skeletons were traditionally reconstructed in an upright position to create impressive height, analysis of their vertebral articulation indicates that they probably carried their heads forward,<ref name="WH">Worthy & Holdaway (2002)</ref> in the manner of a [[kiwi]]. The spine was attached to the rear of the head rather than the base, indicating the horizontal alignment. This would have allowed them to graze on low-elevation vegetation, while being able to lift their heads and browse trees when necessary. This has resulted in a reconsideration of the height of larger moa.<br />
<br />
Although there is no surviving record of what sounds moa made, some idea of their calls can be gained from fossil evidence. The [[Vertebrate trachea|trachea]] of moa were supported by many small rings of bone known as tracheal rings. Excavation of these rings from articulated skeletons has shown that at least two moa genera (''Euryapteryx'' and ''Emeus'') exhibited tracheal elongation, that is, their trachea were up to 1 metre (3&nbsp;ft) long and formed a large loop within the body cavity.<ref name="WH" /> These are the only ratites known to exhibit this feature, which is also present in several other bird groups including [[swan]]s, [[Crane (bird)|cranes]], and [[guinea fowl]]. The feature is associated with deep, resonant vocalisations that can travel long distances.<br />
<br />
{{Clear}}<br />
<br />
==Evolutionary relationships==<br />
[[Image:Kiwi, ostrich, Dinornis.jpg|thumb|upright|A comparison of a [[kiwi]] (left), [[ostrich]] (center), and ''[[Dinornis]]'' (right), each with its egg.]]<br />
<br />
Research published starting in 2010 has found that the moa's closest cousins are small terrestrial South American birds called the [[tinamou]]s which are able to fly.<ref name="Phillips">Phillips, ''et al.'' (2010)</ref><ref name="Allentoft2012">{{Cite journal | doi = 10.1016/j.aanat.2011.04.002| title = Moa's Ark or volant ghosts of Gondwana? Insights from nineteen years of ancient DNA research on the extinct moa (Aves: Dinornithiformes) of New Zealand| journal = Annals of Anatomy - Anatomischer Anzeiger| volume = 194| pages = 36–51| date = 2012-01-20| last1 = Allentoft | first1 = M. E. | last2 = Rawlence | first2 = N. J. | ref = harv }}</ref><ref name = "Mitchell2014">{{Cite journal | doi = 10.1126/science.1251981| pmid = 24855267| title = Ancient DNA reveals elephant birds and kiwi are sister taxa and clarifies ratite bird evolution| journal = Science| volume = 344| issue = 6186| pages = 898–900| date = 2014-05-23| last1 = Mitchell | first1 = K. J.| last2 = Llamas | first2 = B.| last3 = Soubrier | first3 = J.| last4 = Rawlence | first4 = N. J.| last5 = Worthy | first5 = T. H.| last6 = Wood | first6 = J.| last7 = Lee | first7 = M. S. Y.| last8 = Cooper | first8 = A.| ref = harv}}</ref><ref name="Baker2014">{{Cite journal | doi = 10.1093/molbev/msu153| title = Genomic Support for a Moa-Tinamou Clade and Adaptive Morphological Convergence in Flightless Ratites| journal = Molecular Biology and Evolution| year = 2014| last1 = Baker | first1 = A. J.| last2 = Haddrath | first2 = O.| last3 = McPherson | first3 = J. D.| last4 = Cloutier | first4 = A.| ref = harv | volume=31 | pages=1686–1696 | pmid=24825849}}</ref> Previously, the [[kiwi]], the Australian [[emu]], and [[cassowary]]<ref name="Turvey">Turvey ''et al.'' (2005)</ref> were thought to be most closely related to the moa.<br />
<br />
Although dozens of species were described in the late 19th century and early 20th century, many were based on partial skeletons and turned out to be [[Synonym (zoology)|synonyms]]. Currently, eleven species are formally recognised, although recent studies using [[ancient DNA]] recovered from bones in museum collections suggest that distinct lineages exist within some of these. One factor that has caused much confusion in moa taxonomy is the intraspecific variation of bone sizes, between glacial and inter-glacial periods (see [[Bergmann’s rule]] and [[Allen’s rule]]) as well as [[sexual dimorphism]] being evident in several species. ''[[Dinornis]]'' seems to have had the most pronounced [[sexual dimorphism]], with females being up to 150% as tall and 280% as heavy as males&mdash;so much bigger that they were formerly classified as separate species until 2003.<ref name="Huynen">Huynen, L. J.,''et al.'' (2003)</ref><ref name="Bunce">Bunce, M., ''et al.'' (2003)</ref> A 2009 study showed that ''Euryapteryx curtus'' and ''Euryapteryx gravis'' were synonyms.<ref name="Bunce2">{{Cite journal | last1 = Bunce | first1 = M. | last2 = Worthy | first2 = T. H. | last3 = Phillips | first3 = M. J. | last4 = Holdaway | first4 = R. N. | last5 = Willerslev | first5 = E. | last6 = Haile | first6 = J. | last7 = Shapiro | first7 = B. | last8 = Scofield | first8 = R. P. | last9 = Drummond | first9 = A. | last10 = Kamp | doi = 10.1073/pnas.0906660106 | first10 = P. J. J. | last11 = Cooper | first11 = A. | title = The evolutionary history of the extinct ratite moa and New Zealand Neogene paleogeography | journal = Proceedings of the National Academy of Sciences | volume = 106 | issue = 49 | pages = 20646–20651 | year = 2009 | pmid = 19923428| pmc = 2791642}}</ref> A 2010 study explained size differences among them as sexual dimorphism.<ref>{{Cite journal | last1 = Gill | first1 = B. J. | doi = 10.3853/j.0067-1975.62.2010.1535 | title = Regional comparisons of the thickness of moa eggshell fragments (Aves: Dinornithiformes). In Proceedings of the VII International Meeting of the Society of Avian Paleontology and Evolution, ed. W.E. Boles and T.H. Worthy | journal = Records of the Australian Museum | volume = 62 | pages = 115–122 | year = 2010 | pmid = | pmc = }}</ref> A 2012 morphological study interpreted them as subspecies instead.<ref>{{Cite journal | last1 = Worthy | first1 = T. H. | last2 = Scofield | first2 = R. P. | doi = 10.1080/03014223.2012.665060 | title = Twenty-first century advances in knowledge of the biology of moa (Aves: Dinornithiformes): A new morphological analysis and moa diagnoses revised | journal = New Zealand Journal of Zoology | volume = 39 | issue = 2 | pages = 87–153 | year = 2012 | pmid = | pmc = }}</ref><br />
<br />
[[Ancient DNA]] analyses have determined that there were a number of cryptic evolutionary lineages in several moa genera.<ref>{{Cite journal | doi = 10.1073/pnas.0409435102| title = Reconstructing the tempo and mode of evolution in an extinct clade of birds with ancient DNA: The giant moas of New Zealand| journal = Proceedings of the National Academy of Sciences| volume = 102| issue = 23| pages = 8257–62| year = 2005| last1 = Baker | first1 = A. J.| last2 = Huynen | first2 = L. J.| last3 = Haddrath | first3 = O.| last4 = Millar | first4 = C. D.| last5 = Lambert | first5 = D. M. | pmid=15928096 | pmc=1149408}}</ref> These may eventually be classified as species or subspecies; ''Megalapteryx benhami'' (Archey) which is synonymised with ''M.&nbsp;didinus'' (Owen) because the bones of both share all essential characters. Size differences can be explained by a north-south [[cline (biology)|cline]] combined with temporal variation such that specimens were larger during the Otiran glacial period (the last ice age in New Zealand). Similar temporal size variation is known for the North Island ''Pachyornis mappini''.<ref>Worthy (1987)</ref> Some of the other size variation for moa species can probably be explained by similar geographic and temporal factors.<ref>Worthy, ''et al.'' (1988)</ref><br />
<br />
The earliest moa remains come from the [[Miocene]] [[Saint Bathans Fauna]]. Known from multiple eggshells and hindlimb elements, these represent at least two species of already fairly large sized species.<ref name="ReferenceA">{{cite journal | last1 = Tennyson | first1 = A.J.D. | last2 = Worthy | first2 = T.H. | last3 = Jones | first3 = C.M. | last4 = Scofield | first4 = R.P. | last5 = Hand | first5 = S.J. | year = 2010 | title = Moa's Ark: Miocene fossils reveal the great antiquity of moa (Aves: Dinornithiformes) in Zealandia | url = | journal = Records of the Australian Museum | volume = 62 | issue = | pages = 105–114 | doi=10.3853/j.0067-1975.62.2010.1546}}</ref><br />
<br />
==Classification==<br />
<br />
===Taxonomy===<br />
[[Image:Emeus crassus e Pachyornis elephantopus.jpg|thumb|upright|''Emeus crassus'' and ''Pachyornis elephantopus'']]<br />
[[Image:Anomalopteryx didiformus.jpg|thumb|upright|''Anomalopteryx didiformis'' skeleton]]<br />
<br />
The currently recognised genera and species are:<ref name="Davies">Davies, S. J. J. F. (2003)</ref><br />
{{Clear left}}<br />
*Order †'''Dinornithiformes''' <small>(Gadow 1893) Ridgway 1901</small> [Dinornithes <small>Gadow 1893</small>; Immanes <small>Newton 1884</small>] (moa)<br />
**Family '''Dinornithidae''' Owen 1843 [Palapteryginae Bonaparte 1854; Palapterygidae Haast 1874; Dinornithnideae Stejneger 1884]<br />
***Genus '''''[[Giant moa|Dinornis]]'''''<br />
****[[North Island giant moa]], ''Dinornis novaezealandiae'' (North Island, New Zealand)<br />
****[[South Island giant moa]], ''Dinornis robustus'' (South Island, New Zealand)<br />
**Family '''Emeidae''' <small>(Bonaparte 1854)</small> [Emeinae <small>Bonaparte 1854</small>; Anomalopterygidae <small>Oliver 1930</small>; Anomalapteryginae <small>Archey 1941</small>] (lesser moas)<br />
***Genus '''''[[Anomalopteryx]]'''''<br />
****[[Bush moa]], ''Anomalopteryx didiformis'' (South Island, New Zealand)<br />
***Genus '''''[[Emeus]]''''' <br />
****[[Eastern moa]], ''Emeus crassus'' (South Island, New Zealand)<br />
***Genus '''''[[Euryapteryx]]'''''<br />
****[[Coastal moa]], ''Euryapteryx curtus'' (North and South Island, New Zealand)<br />
***Genus '''''[[Pachyornis]]'''''<br />
****[[Heavy-footed moa]], ''Pachyornis elephantopus'' (South Island, New Zealand)<br />
****[[Mantell's moa]], ''Pachyornis geranoides'' (North Island, New Zealand)<br />
****[[Crested moa]], '' Pachyornis australis'' (South Island, New Zealand)<ref name="Stephenson">Stephenson, Brent (2009)</ref><br />
**Family '''[[Megalapterygidae]]'''<br />
***[[Genus]] '''''[[Megalapteryx]]'''''<br />
****[[Upland moa]], ''Megalapteryx didinus'' (South Island, New Zealand)<br />
<br />
Two unnamed species from the [[Saint Bathans Fauna]].<ref name="ReferenceA"/><br />
{{Clear}}<br />
<br />
===Phylogeny===<br />
[[Image:Moa footprints.jpg|thumb|upright|Preserved footprints of a ''D.&nbsp;robustus'' found in 1911.]]<br />
<br />
Because '''moa''' are a group of flightless [[birds]] with no vestiges of wing bones, questions have been raised about how they arrived in New Zealand, and from where. There are many theories about the moa's arrival and radiation on New Zealand, but the most recent theory suggests that the moa arrived on New Zealand about 60&nbsp;million years ago (Mya) and split from the "basal" (see below) moa species, ''Megalapteryx'' about 5.8&nbsp;Mya<ref>{{cite journal|last=Bunce|first=M.<br />
|last2=Worthy |first2= T. H. |last3=Phillips |first3=M. J. |last4=Holdaway |first4 = R. N. |last5= Willerslev |first5=E. |last6=Hailef |first6=J. |last7=Shapiro |first7=B. |last8=Scofield |first8=R. P. |last9=Drummond |first9=A. |last10=Kampk |first10=P. J. J. |last11=Cooper |first11=A. |title=The evolutionary history of the extinct ratite moa and New Zealand Neogene paleogeography|journal=Proceedings of the National Academy of Sciences|year=2009|volume=106|pages=20646–20651|doi=10.1073/pnas.0906660106 |pmid=19923428 |pmc=2791642}}</ref> instead of the 18.5&nbsp;Mya split suggested by Baker et al. (2005). This does not necessarily mean there was no speciation between the arrival 60&nbsp;Mya and the basal split 5.8&nbsp;Mya, but the fossil record is lacking and is it most likely that early moa lineages existed but became extinct before the basal split 5.8&nbsp;Mya.<ref>{{cite journal|last=Allentoft|first=Morten|author2=Nicolas Rawlence|title=Moa’s ark or volant ghosts of Gondwana? Insights from nineteen years of ancient DNA research on the extinct moa (Aves: Dinornithiformes) of New Zealand|journal=Annals of Anatomy|year=2012|volume=194|pages=36–51|doi=10.1016/j.aanat.2011.04.002}}</ref> The presence of [[Miocene]] aged species certainly suggests that moa diversification began before the split between ''Megalapteryx'' and the other taxa.<ref name="ReferenceA"/><br />
<br />
The [[Oligocene]] Drowning Maximum event, which occurred about 22&nbsp;Mya, when only 18% of present-day New Zealand was above sea level, is very important in the moa radiation. Because the basal moa split occurred so recently (5.8&nbsp;Mya), it was argued that ancestors of the Quaternary moa lineages could not have been present on both the South and North island remnants during the Oligocene drowning.<ref>{{cite journal|last=Allentoft|first=Morten|author2=Nicloas Rawlence|title=Moa’s ark or volant ghosts of Gondwana? Insights from nineteen years of ancient DNA research on the extinct moa (Aves: Dinornithiformes) of New Zealand|journal=Annals of Anatomy|year=2012|volume=194|pages=36–51|doi=10.1016/j.aanat.2011.04.002}}</ref> This does not imply that moa were previously absent from the North Island, but that only those from the South Island survived, because only the South Island was above sea level. Bunce et al. (2009) argued that moa ancestors survived on the South Island and then recolonized the North Island about 2&nbsp;My later, when the two islands rejoined after 30&nbsp;My of separation.<ref name=Bunce /> The presence of Miocene moas in the Saint Bathans fauna seems to suggest that these birds increased in size soon after the Oligocene Drowning Event, if they were affected by it at all.<ref name="ReferenceA"/><br />
<br />
Bunce et al. also concluded that the highly complex structure of the moa lineage was caused by the formation of the [[Southern Alps]] about 6&nbsp;Mya, and the habitat fragmentation on both islands resulting from Pleistocene glacial cycles, [[volcanism]], and landscape changes.<ref name="Bunce"/> On the left is a phylogeny of Palaeognathae generated by Mitchell (2014)<ref name = "Mitchell2014" /> with some clade names after Yuri ''et al.'' (2013)<ref>{{cite journal | last1 = Yuri | first1 = T | year = 2013 | title = Parsimony and model-based analyses of indels in avian nuclear genes reveal congruent and incongruent phylogenetic signals | journal = Biology | volume = 2 | issue = | pages = 419–44 | doi=10.3390/biology2010419 | pmid=24832669 | pmc=4009869}}</ref> The below right is a species level phylogeny of Dinornithiformes.<ref name="Bunce"/><br />
<br />
<div class="NavContent"><br />
{| width="100%"<br />
|- valign="top"<br />
| align="left" width="50%" |<br />
{{clade| style=font-size:80%; line-height:80%<br />
|1=[[Struthioniformes]] ([[Ostrich]]es)<br />
|label2=[[Notopalaeognathae]]<br />
|2={{Clade<br />
|1=[[Rheiformes]] ([[Rhea (bird)|Rhea]])<br />
|label2=<br />
|2={{Clade<br />
|label1=<br />
|1={{clade<br />
|1=[[Tinamiformes]] ([[Tinamou]]s)<br />
|2='''Dinornithiformes'''† (Moas)<br />
}}<br />
|label2=[[Novaeratitae]]<br />
|2={{Clade<br />
|label1=<br />
|1={{Clade<br />
|label1=<br />
|1={{Clade<br />
|1=[[Apterygiformes]] ([[Kiwi]])<br />
|2=[[Aepyornithiformes]]† ([[Elephant bird]])<br />
}}<br />
|label2=[[Casuariiformes]]<br />
|2={{Clade<br />
|1=[[Casuariidae]] ([[Cassowary]])<br />
|2=[[Dromaiidae]] ([[Emu]])<br />
}}<br />
}}<br />
}}<br />
}}<br />
}}<br />
}}<br />
| align="left" width="50%"|<br />
{{clade| style=font-size:80%;line-height:80%<br />
|label1=<br />
|1={{clade<br />
|label1=Dinornithidae<br />
|1={{clade<br />
|1=''[[Dinornis robustus]]''<br />
|2=''[[Dinornis novaezealandiae]]''<br />
}}<br />
|label2=Megalapteryidae<br />
|2={{clade<br />
|1=''[[Megalapteryx didinus]]''<br />
}}<br />
}}<br />
|label2=Emeidae<br />
|2={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|1=''[[Pachyornis australis]]''<br />
|label2=&nbsp;<br />
|2={{clade<br />
|1=''[[Pachyornis elephantopus]]''<br />
|2=''[[Pachyornis geranoides]]''<br />
}}<br />
}}<br />
}}<br />
}}<br />
|label2=&nbsp;<br />
|2={{clade<br />
|label1=&nbsp;<br />
|1={{clade<br />
|1=''[[Anomalopteryx didiformis]]''<br />
|label2=&nbsp;<br />
|2={{clade<br />
|1=''[[Emeus crassus]]''<br />
|2=''[[Euryapteryx curtus]]''<br />
}}<br />
}}<br />
}}<br />
}}<br />
}}<br />
|}<br />
</div><br />
<br />
==Distribution and habitat==<br />
Analyses of fossil moa bone assemblages have provided detailed data on the habitat preferences of individual moa species, and revealed distinctive regional moa faunas:<ref name="WH" /><ref>Worthy, T. H. (1998)a</ref><ref>Worthy, T. H. (1998)b</ref><ref>Worthy, T. H. & Holdaway, R. N. (1993)</ref><ref>Worthy, T. H. & Holdaway, R. N. (1994)</ref><ref>Worthy, T. H. & Holdaway, R. N. (1995)</ref><ref>Worthy, T. H. & Holdaway, R. N. (1996)</ref><br />
<br />
===South Island===<br />
[[File:Giant moa.jpg|thumb|upright|A restoration of ''Dinornis robustus'' and ''Pachyornis elephantopus'', both from the South Island.]]<br />
The two main faunas identified in the South Island include: 1. The fauna of the high rainfall west coast beech (''[[Nothofagus]]'') forests that included ''Anomalopteryx didiformis'' (bush moa) and ''Dinornis robustus'' (South Island giant moa); and 2. The fauna of the dry rainshadow forest and shrublands east of the [[Southern Alps]] that included ''Pachyornis elephantopus'' (heavy-footed moa), ''Euryapteryx gravis'', ''Emeus crassus'' and ''Dinornis robustus''. The two other moa species that existed in the South Island; ''Pachyornis australis'' and ''Megalapteryx didinus'' might be included in a ‘[[subalpine]] fauna’, along with the widespread ''Dinornis robustus''. ''P. australis'' is the rarest of the moa species, and the only one not yet found in Maori middens.<br />
<br />
Its bones have been found in caves in the northwest [[Nelson, New Zealand|Nelson]] and [[Karamea]] districts (such as [[Honeycomb Hill Cave]]), and some sites around the [[Wanaka]] district. ''M.&nbsp;didinus'' is more widespread. Its name "upland moa" reflects the fact its bones are commonly found in the subalpine zone. However, it also occurred down to sea level where there was suitable steep and rocky terrain (such as [[Punakaiki]] on the west coast and [[Central Otago]]). Their distributions in coastal areas have been rather unclear, but were present at least in several locations such as on [[Kaikoura]], [[Otago Peninsula]],<ref>{{cite web|author=Buick L.T.|year=1937|title=The Moa-Hunters of New Zealand: Sportsman of the Stone Age - Chapter I. Did The Maori Know The Moa?|url=http://nzetc.victoria.ac.nz/tm/scholarly/tei-BuiMoaH-t1-body-d0-d1.html|journal=[[Victoria University of Wellington]] Catalogue - New Zealand Texts Collection|publisher=[[W & T Avery Ltd.]]|accessdate=2015-02-03}}</ref> and [[Karitane]].<ref>{{cite web|author=Teviotdale D.|year=1932|title=The material culture of the Moa-hunters in Murihiku. - 2. EVIDENCE OF ZOOLOGY.|url=http://www.jps.auckland.ac.nz/document//Volume_41_1932/Volume_41,_No._162/The_material_culture_of_the_Moa-hunters_in_Murihiku,_by_David_Teviotdale,_p_81-120/p1|journal=The Journal of Polynesian Society Volume 41, No. 162|pages=81–120|accessdate=2015-02-03}}</ref><br />
[[Image:The skeletons of Eastern moa and other kinds of moas in Otago museum.jpg|thumb|upright|The skeletons of Eastern moa (''Emeus crassus'') and other kinds of moas in Otago museum.]]<br />
<br />
===North Island===<br />
Significantly less is known about North Island paleofaunas, due to a paucity of fossil sites compared to the South Island; however, the basic pattern of moa-habitat relationships was the same.<ref name="WH" /> Although the South Island and the North Island shared some moa species (''Euryapteryx gravis'', ''Anomalopteryx didiformis''), most were exclusive to one island, reflecting divergence over several thousand years since lower sea level had resulted in a land bridge across [[Cook Strait]].<ref name="WH" /><br />
<br />
In the North Island, ''Dinornis novaezealandiae'' and ''Anomalopteryx didiformis'' dominated in high rainfall forest habitat; a similar pattern to the South Island. The other moa species present in the North Island (''Euryapteryx gravis'', ''E.&nbsp;curtus'', and ''Pachyornis geranoides'') tended to inhabit drier forest and shrubland habitats. ''P. geranoides'' occurred throughout the North Island, while the distributions of ''E.&nbsp;gravis'' and ''E.&nbsp;curtus'' were almost mutually exclusive, the former having only been found in coastal sites around the southern half of the North Island.<ref name="WH" /><br />
<br />
==Behaviour and ecology==<br />
Approximately eight moa [[fossil trackway|trackway]]s, with fossilised moa footprint impressions in fluvial silts have been found throughout the North Island, including Waikanae Creek (1872), Napier (1887), Manawatu River (1895), Marton (1896), Palmerston North (1911) (see photograph to left), Rangitikei River (1939), and underwater in Lake Taupo (1973). Analysis of the spacing of these tracks indicates walking speeds of between 3 and 5&nbsp;km/h (1.75–3&nbsp;mph).<ref name="WH" /><br />
<br />
===Diet===<br />
[[Image:Dinornis giganteus.jpg|thumb|''D. novaezealandiae'' skull at the Museum für Naturkunde, Berlin.]]<br />
Although feeding moa were never observed by scientists, their diet has been deduced from [[fossil]]ised contents of their [[gizzard]]s<ref>Burrows, ''et al.'' (1981)</ref><ref name="autogenerated3">Wood (2007)</ref> and [[coprolite]]s,<ref>Horrocks, ''et al.'' (2004)</ref> as well as indirectly through morphological analysis of skull and beak, and [[Isotope analysis|stable isotope analysis]] of their bones.<ref name="WH" /> Moa fed on a range of plant species and plant parts, including fibrous twigs and leaves taken from low trees and shrubs. The beak of ''[[Pachyornis]]'' ''elephantopus'' was analogous to a pair of [[secateur]]s, and was able to clip the fibrous leaves of New Zealand flax (''[[Phormium]]'' ''tenax'') and twigs up to at least 8&nbsp;mm in diameter.<ref name="autogenerated3" /><br />
<br />
Like many other birds, moa swallowed ''gizzard stones'' ([[gastrolith]]s), which were retained in their muscular gizzards, providing a grinding action that allowed them to eat coarse plant material. These stones were commonly smooth, rounded quartz pebbles, but stones over {{convert|110|mm|in|0}} in length have been found amongst preserved moa gizzard contents.<ref name="autogenerated3" /> ''Dinornis'' gizzards could often contain several kilograms of stones.<ref name="WH" /> It has been suggested that moas exercised a certain selectivity in the choice of gizzard stones and chose the hardest pebbles.<ref>{{cite journal | last1 = Smalley | first1 = I.J. | year = 1979 | title = Moas as rockhounds | url = | journal = Nature | volume = 281 | issue = | pages = 103–104 | doi = 10.1038/281103b0 }}</ref><br />
<br />
===Reproduction===<br />
It has been long suspected that the pairs of species of moa described as ''Euryapteryx curtus''/''E.&nbsp;exilis'', ''Emeus huttonii''/''E.&nbsp;crassus'', and ''Pachyornis septentrionalis''/''P.&nbsp;mappini'' constituted males and females, respectively. This has been confirmed by analysis for sex-specific genetic markers of DNA extracted from bone material.<ref name="Huynen" /><br />
<br />
For example, prior to 2003 there were three species of ''Dinornis'' recognised: South Island giant moa (''D.&nbsp;robustus''), North Island giant moa (''D.&nbsp;novaezealandiae'') and slender moa (''D.&nbsp;struthioides''). However, DNA showed that all ''D.&nbsp;struthioides'' were in fact males, and all ''D.&nbsp;robustus'' were females. Therefore, the three species of ''Dinornis'' were reclassified as two species, one each formerly occurring on New Zealand's North Island (''D.&nbsp;novaezealandiae'') and South Island (''D.&nbsp;robustus'');<ref name="Huynen" /><ref>{{Cite journal | last1 = Bunce | first1 = M. | last2 = Worthy | first2 = T. H. | last3 = Ford | first3 = T. | last4 = Hoppitt | first4 = W. | last5 = Willerslev | first5 = E. | last6 = Drummond | first6 = A. | last7 = Cooper | first7 = A. | title = Extreme reversed sexual size dimorphism in the extinct New Zealand moa Dinornis | journal = Nature | volume = 425 | issue = 6954 | pages = 172–175 | year = 2003 | pmid = 12968178 | doi = 10.1038/nature01871}}</ref> ''D.&nbsp;robustus'' however, comprises three distinct genetic lineages and may eventually be classified as many species, as discussed above.<br />
<br />
Examination of growth rings present in moa cortical bone has revealed that these birds were [[k-selection|K-selected]], as are many other large endemic New Zealand birds.<ref name="Turvey" /> They are characterised by having low [[fecundity]] and a long [[wikt:maturation|maturation]] period, taking approximately ten years to reach adult size. The large ''Dinornis'' species took the same length of time to reach adult size as small moa species, and as a result had an accelerated rate of skeletal growth during their juvenile years.<ref name="Turvey" /><br />
<br />
There is no evidence to suggest that moa were colonial nesters. While evidence of moa nesting is often inferred from accumulations of eggshell fragments found in [[caves]] and rock shelters, little evidence exists of the [[bird nest|nest]]s themselves. Excavations of rock shelters in the eastern North Island during the 1940s uncovered moa nests, which were described as "small depressions obviously scratched out in the soft dry [[pumice]]".<ref>Hartree (1999)</ref> Moa nesting material has also been recovered from rock shelters in the [[Central Otago]] region of the South Island, where the dry climate has resulted in the preservation of plant material used to construct the nesting platform (including twigs that have been clipped by moa bills).<ref name="Wood">Wood, J. R. (2008)</ref> [[Seeds]] and [[pollen]] within moa coprolites found amongst the nesting material provide evidence that the nesting season was late spring to summer.<ref name="Wood" /><br />
<br />
Fragments of moa eggshell are often encountered in [[archaeological]] sites and [[sand dunes]] around the New Zealand coast. Thirty six whole moa eggs exist in museum collections and vary greatly in size (from {{convert|120|-|240|mm|in}} in length and {{convert|91|-|178|mm|in}} wide).<ref>Gill (2007)</ref> The outer surface of moa eggshell is characterised by small slit-shaped pores. The eggs of most moa species were white, although those of the upland moa (''Megalapteryx didinus'') were blue-green.<ref name="Huynen, Leon 2010">Huynen, Leon; Gill, Brian J.; Millar, Craig D.; and Lambert, David M. (2010)</ref><br />
<br />
A 2010 study by Huynen et al. has found that the eggs of certain species were fragile, only around a millimeter in thickness: "Unexpectedly, several thin-shelled eggs were also shown to belong to the heaviest moa of the genera ''Dinornis'', ''Euryapteryx'', and ''Emeus'', making these, to our knowledge, the most fragile of all avian eggs measured to date. Moreover, sex-specific DNA recovered from the outer surfaces of eggshells belonging to species of ''Dinornis'' and ''Euryapteryx'' suggest that these very thin eggs were likely to have been incubated by the lighter males. The thin nature of the eggshells of these larger species of moa, even if incubated by the male, suggests that egg breakage in these species would have been common if the typical contact method of avian egg incubation was used."<ref name="Huynen, Leon 2010"/> Despite the bird's extinction, the high yield of DNA available from recovered fossilized eggs has allowed the moa to have its genome sequenced.<ref>Yong, Ed. (2010)</ref><br />
<br />
<gallery widths="200px" heights="200px"><br />
Image:The skeleton of female upland moa.JPG|The skeleton of female upland moa with egg in unlaid position within the pelvic cavity in Otago Museum.<br />
File:Emeus egg and embryo.jpg|An egg and embryo fragments of ''Emeus crassus''<br />
File:Megalapteryx.png|Restoration of an [[Upland moa]]<br />
</gallery><br />
<br />
==Relationship with humans==<br />
<br />
===Extinction===<br />
[[File:Giant Haasts eagle attacking New Zealand moa.jpg|thumb|left|An artist's rendition of a [[Haast's eagle]] attacking moa.]]<br />
Before the arrival of human settlers, the moa's only predator was the massive [[Haast's eagle]]. New Zealand had been isolated for 80 million years and had few predators prior to human arrival, meaning that not only were its ecosystems extremely fragile but the native species were ill-equipped to cope with human predators.<ref>{{Cite book|title = A Concise History of New Zealand|last = Mein Smith|first = Philippa|publisher = Cambridge University Press|year = 2012|isbn = 9781107402171|location = |pages = 2, 5–6}}</ref><ref>{{Cite journal|url = |title = Naïve birds and noble savages – a review of man-caused prehistoric extinctions of island birds|last = Milberg |last2= Tyrberg|first = Per |first2= Tommy|date = 1993|journal = Ecography|doi = 10.1111/j.1600-0587.1993.tb00213.x |volume=16 |pages=229–250}}</ref><br />
<br />
The [[Māori people|Māori]] arrived sometime before 1300, and all moa genera were soon driven to extinction by hunting and, to a lesser extent, by habitat reduction due to forest clearance. By 1445, all moa had become extinct, along with the Haast's eagle which had relied on them for food. Recent research using [[carbon-14 dating]] of [[midden]]s strongly suggests that the events leading to extinction took less than a hundred years,<ref>Holdaway & Jacomb (2000)</ref> rather than a period of exploitation lasting several hundred years, which is what had previously been hypothesized.<br />
<br />
Some authors have speculated that a few ''Megalapteryx didinus'' may have persisted in remote corners of New Zealand until the 18th and even 19th centuries, but this view is not widely accepted.<ref name = "Anderson">Anderson (1989)</ref> Some Māori hunters claimed to be in pursuit of the moa as late as the 1770s; however, it is possible that these accounts did not refer to the hunting of actual birds as much as a now lost ritual among south islanders.<ref>Atholl Anderson, Prodigious Birds: Moas and Moa-Hunting in New Zealand, Published January 26th 1990 by Cambridge University Press</ref> [[Whaler]]s and [[Seal hunter|sealers]] recalled seeing monstrous birds along the coast of the South Island, and in the 1820s, a man named George Pauley made an unverified claim of seeing a moa in the [[Otago]] region of New Zealand.<ref>Purcell, Rosamond (1999)</ref><ref name="Fuller"/><br />
<br />
An expedition in the 1850s under Lieutenant A. Impey reported two emu-like birds on a hillside on the South Island; an 1861 story from the ''Nelson Examiner'' told of three-toed footprints measuring {{convert|36|cm|in}} between [[Takaka, New Zealand|Takaka]] and [[Riwaka]] that were found by a surveying party; and finally in 1878 the ''[[Otago Witness]]'' published an additional account from a farmer and his shepherd.<ref name="Fuller"/> An 80-year-old woman, Alice Mckenzie, claimed in 1959 that she had seen a moa in [[Fiordland]] bush in 1887, and again on a Fiordland beach when she was 17 years old. She claimed that her brother had also seen a moa on another occasion.<ref>{{cite web|url=http://www.radionz.co.nz/audio/soundarchives/feature/alice_mckenzie_and_the_moa|title=Radio New Zealand|website=Radio New Zealand}}</ref><br />
<br />
===Surviving remains===<br />
[[Image:Dinornis1387.jpg|thumb|upright|Sir [[Richard Owen]] holding the first discovered moa fossil and standing with a ''Dinornis'' skeleton, 1879.]]<br />
[[Joel Samuel Polack|Joel Polack]], a trader who lived on the East Coast of the North Island from 1834 to 1837, recorded in 1838 that he had been shown "several large fossil ossifications" found near Mt&nbsp;Hikurangi. He was certain that these were the bones of a species of emu or ostrich, noting that "the Natives add that in times long past they received the traditions that very large birds had existed, but the scarcity of animal food, as well as the easy method of entrapping them, has caused their extermination". Polack further noted that he had received reports from Māori that a "species of Struthio" still existed in remote parts of the South Island.<ref>Polack, J. S. (1838)</ref><ref>Hill, H. (1913)</ref><br />
<br />
Dieffenbach<ref>Dieffenbach, E. (1843)</ref> also refers to a fossil from the area near Mt Hikurangi, and surmises that it belongs to "a bird, now extinct, called Moa (or Movie) by the natives". In 1839 John W. Harris, a [[Poverty Bay]] flax trader who was a natural history enthusiast, was given a piece of unusual bone by a Māori who had found it in a river bank. He showed the {{convert|15|cm|in|0}} fragment of bone to his uncle, John Rule, a Sydney surgeon, who sent it to [[Richard Owen]], who at that time was working at the Hunterian Museum at the [[Royal College of Surgeons of England|Royal College of Surgeons]] in [[London]].<ref name="Fuller"/><br />
[[Image:Natural History Museum, London, moa bone fragment.JPG|thumb|left|Owen's first bone fragment]]<br />
Owen puzzled over the fragment for almost four years. He established it was part of the [[femur]] of a big animal, but it was uncharacteristically light and honeycombed. Owen announced to a skeptical scientific community and the world that it was from a giant extinct bird like an [[ostrich]], and named it ''Dinornis''. His deduction was ridiculed in some quarters, but was proved correct with the subsequent discoveries of considerable quantities of moa bones throughout the country, sufficient to reconstruct skeletons of the birds.<ref name="Fuller">Fuller, Errol (1987)</ref><br />
<br />
In July 2004, the [[Natural History Museum, London|Natural History Museum]] in London placed on display the moa bone fragment Owen had first examined, to celebrate 200 years since his birth, and in memory of Owen as founder of the museum.<br />
<br />
Since the discovery of the first moa bones in the late 1830s, thousands more have been found. They occur in a range of late [[Quaternary]] and [[Holocene]] [[sedimentary]] deposits, but are most common in three main types of site: [[cave]]s, [[dune]]s, and [[swamp]]s.<br />
<br />
[[Image:Graveyard 2 a.JPG|thumb|Palaeontologists working on moa bone deposits in the 'Graveyard', Honeycomb Hill Cave System. This cave is a closed scientific reserve.]]<br />
Bones are commonly found in caves or ‘'tomo'’ (the Maori word for doline or [[sinkhole]]; often used to refer to pitfalls or vertical cave shafts). The two main ways that the moa bones were deposited in such sites were: 1. birds that entered the cave to nest or escape bad weather, and subsequently died in the cave; and 2. birds that fell into a vertical shaft and were unable to escape. Moa bones (and the bones of other extinct birds) have been found in caves throughout New Zealand, especially in the [[limestone]]/[[marble]] areas of northwest Nelson, [[Karamea]], [[Waitomo]], and [[Te Anau]].<br />
<br />
Moa bones and eggshell fragments sometimes occur in active coastal sand dunes, where they may erode from [[paleosol]]s and concentrate in ‘[[Blowout (geology)|blowouts]]’ between dune ridges. Many such moa bones predate human settlement, although some originate from Maori midden sites, which frequently occur in dunes near harbours and river mouths (for example the large moa hunter sites at [[Shag River]], [[Otago]], and [[Wairau Bar]], [[Marlborough Region|Marlborough]]).<br />
<br />
[[File:Kapua Swamp.jpg|thumb|An excavation in Kapua Swamp, 1894.]]<br />
Densely intermingled moa bones have been encountered in swamps throughout New Zealand. The most well-known example is at [[Pyramid Valley]] in north Canterbury,<ref>Holdaway, R. N. & Worthy, T. H. (1997)</ref> where bones from at least 183 individual moa have been excavated, mostly by [[Roger Duff]] of [[Canterbury Museum, Christchurch|Canterbury Museum]].<ref name="DNZB Duff">{{DNZB|Davidson|Janet|5d27|Roger Shepherd Duff}}</ref> Many explanations have been proposed to account for how these deposits formed, ranging from poisonous spring waters to floods and wildfires. However the currently accepted explanation is that the bones accumulated at a slow rate over thousands of years, from birds that had entered the swamps to feed and became trapped in the soft sediment.<ref>Wood, J. R., ''et al.'' (2008)</ref><br />
<br />
===Feathers and soft tissues===<br />
[[Image:Moaupland.jpg|thumb|upright|A ''Megalapteryx didinus'' head.]]<br />
<br />
Several remarkable examples of moa remains have been found which exhibit soft tissues ([[muscle]], [[skin]], [[feathers]]), that were preserved through [[desiccation]] when the bird died in a naturally dry site (for example, a cave with a constant dry breeze blowing through it). Most of these specimens have been found in the semi-arid [[Central Otago]] region, the driest part of New Zealand. These include:<br />
* Dried muscle on bones of a female ''Dinornis robustus'' found at Tiger Hill in the [[Manuherikia River]] Valley by gold miners in 1864<ref name="Owen">Owen, R. (1879)</ref> (currently held by [[Yorkshire Museum]])<br />
* Several bones of ''Emeus crassus'' with muscle attached, and a row of neck vertebrae with muscle, skin and feathers collected from Earnscleugh Cave near the town of Alexandra in 1870<ref>Hutton, F. W. & Coughtrey, M. (1875)</ref> (currently held by [[Otago Museum]])<br />
*An articulated foot of a male ''Dinornis giganteus'' with skin and foot pads preserved, found in a crevice on the Knobby Range in 1874<ref name="Buller">Buller, W. L. (1888)</ref> (currently held by [[Otago Museum]])<br />
* The type specimen of ''Megalapteryx didinus'' found near [[Queenstown, New Zealand|Queenstown]] in 1878<ref name="Owen" /> (currently held by [[Natural History Museum, London|Natural History Museum]], London; see photograph of foot on this page)<br />
* The lower leg of ''Pachyornis elephantopus'', with skin and muscle, from the Hector Range in 1884;<ref name="Anderson" /><ref name="Buller" /> (currently held by the Zoology Department, [[Cambridge University]])<br />
* The complete feathered leg of a ''Megalapteryx didinus'' from Old Man Range in 1894<ref>Hamilton, A. (1894)</ref> (currently held by [[Otago Museum]])<br />
* The head of a ''Megalapteryx didinus'' found near Cromwell sometime prior to 1949<ref>Vickers-Rich, P., ''et al.'' (1995)</ref> (currently held by the [[Museum of New Zealand]]).<br />
<br />
Two specimens are known from outside the Central Otago region:<br />
<br />
* A complete foot of ''Megalapteryx didinus'' found in a cave on [[Mount Owen, New Zealand|Mount Owen]] near Nelson in the 1980s<ref>Worthy, T. H. (1989)</ref> (currently held by the [[Museum of New Zealand]])<br />
* A skeleton of ''Anomalopteryx didiformis'' with muscle, skin and feather bases collected from a cave near [[Te Anau]] in 1980.<ref>Forrest, R. M. (1987)</ref><br />
<br />
[[Image:Moa foot.jpg|thumb|A preserved ''[[Megalapteryx]]'' foot, Natural History Museum.]]<br />
In addition to these specimens, loose moa feathers have been collected from caves and rockshelters in the southern South Island, and based on these remains, some idea of the moa plumage has been achieved. The preserved leg of ''Megalapteryx didinus'' from the Old Man Range reveals that this species was feathered right down to the foot. This is likely to have been an adaptation to living in high altitude, snowy environments, and is also seen in the [[Darwin’s rhea]], which lives in a similar seasonally snowy habitat.<ref name="WH" /><br />
<br />
Moa feathers are up to {{convert|23|cm|in|0}} long, and a range of colours have been reported, including reddish-brown, white, yellowish and purplish.<ref name="WH" /> Dark feathers with white or creamy tips have also been found, and indicate that some moa species may have had plumage with a speckled appearance.<ref>{{Cite journal | last1 = Rawlence | first1 = N. J. | last2 = Wood | first2 = J. R. | last3 = Armstrong | first3 = K. N. | last4 = Cooper | first4 = A. | title = DNA content and distribution in ancient feathers and potential to reconstruct the plumage of extinct avian taxa | journal = Proceedings of the Royal Society B: Biological Sciences | volume = 276 | issue = 1672 | pages = 3395–3402 | year = 2009 | doi = 10.1098/rspb.2009.0755 | pmid=19570784 | pmc=2817183}}</ref><br />
<br />
===Claims of moa survival===<br />
[[Image:Moa mock hunt.jpg|thumb|upright|An early 20th century reconstruction of a moa hunt.]]<br />
<br />
There has been occasional speculation—since at least the late 19th century,<ref>Gould, C. (1886)</ref><ref>Heuvelmans, B (1959)</ref> and as recently as 1993<ref name="AnimalX_Moa">Animal X classic (2003)</ref><ref>Worthy, Trevor H. (2009)</ref><ref>Dutton, Dennis (1994)</ref> and 2008<ref name="autogenerated2" />—that some moa may still exist, particularly in the wilderness of [[Westland, New Zealand|South Westland]] and [[Fiordland]]. The 1993 report initially interested the Department of Conservation but the animal in a blurry photograph was identified as a [[red deer]].<ref name="Nickell">{{cite journal|last1=Nickell|first1=Joe|title=The New Zealand Moa: From Extinct Bird to Cryptid|journal=Skeptical Briefs|date=Spring 2017|volume=27|issue= 1|pages=8–9|publisher=Center for Inquiry}}</ref><ref>{{cite web|last1=Nickell|first1=Joe|title=The New Zealand Moa: From Extinct Bird to Cryptid|url=http://www.csicop.org/sb/show/the_new_zealand_moa_from_extinct_bird_to_cryptid|website=The Committee for Skeptical Enquiry|accessdate=21 June 2017}}</ref> [[Cryptozoology|Cryptozoologists]] and others reputedly continue to search for them,<ref>Hall, Jamie (2006)</ref> but their claims and supporting evidence (such as of purported footprints<ref name="autogenerated2">Laing, Doug (2008)</ref>) have earned little attention from mainstream experts, and are widely considered [[pseudoscience|pseudoscientific]].<ref name = "Anderson"/><br />
<br />
The rediscovery of the [[takahē]] in 1948 after none had been seen since 1898 showed that rare birds can exist undiscovered for a long time. However, the takahē is a much smaller bird than the moa, and was rediscovered after its tracks were identified&mdash;yet no reliable evidence of moa tracks has ever been found, and experts still contend that moa survival is extremely unlikely, since this would involve the ground-dwelling birds living unnoticed for over five hundred years in a region visited often by [[hunter]]s and [[hiker]]s.<ref name="autogenerated2" /><br />
<br />
===Potential revival===<br />
The creature has frequently been mentioned as [[De-extinction|a potential candidate for revival by cloning]]. Its iconic status, coupled with the facts that it only became extinct a few hundred years ago and that substantial quantities of moa remains exist, mean that it is often listed alongside such creatures as the [[dodo]] as leading candidates for resurrection.<ref>Macrae, F., "[http://www.dailymail.co.uk/sciencetech/article-1108642/The-beasts-raise-dead-Return-mammoth-matter-time.html The beasts we could raise from the dead: Return of the mammoth is 'only a matter of time']", ''Mailonline'', 8 January 2009. Retrieved 25 July 2014.</ref><ref>Le Roux, M., "[http://www.couriermail.com.au/news/scientists-plan-to-resurrect-a-range-of-extinct-animals-using-dna-and-cloning/story-e6freon6-1226626834888?nk=6a30daade715237f987174b18faf3de7 Scientists plan to resurrect a range of extinct animals using DNA and cloning]", ''Courier Mail'', 23 April 2013. Retrieved 25 July 2014.</ref> Preliminary work involving the extraction of [[DNA]] has been undertaken by Japanese geneticist Ankoh Yasuyuki Shirota.<ref>{{cite journal | last1 = Young | first1 = E | year = 1997 | title = Moa genes could rise from the dead | url = | journal = New Scientist | volume = 153 | issue = 2063 }}</ref><ref>"[http://nzsm.webcentre.co.nz/article452.htm Life in the Old Moa Yet]", ''New Zealand Science Monthly'', February 1997. Retrieved 25 July 2014.</ref><br />
<br />
Interest in the moa's potential for revival was further stirred in mid 2014 when New Zealand Member of Parliament [[Trevor Mallard]] suggested that bringing back some smaller species of moa within 50 years was a viable idea.<ref>O'Brien, T. [http://www.3news.co.nz/Mallard-Bring-the-moa-back-to-life-within-50-years/tabid/1607/articleID/350976/Default.aspx Mallard: Bring the moa back to life within 50 years]", ''3news'', 1 July 2014. Retrieved 25 July 2014.</ref> The idea was ridiculed by many, but gained support from some natural history experts.<ref>Tohill, M.-J., "[http://www.stuff.co.nz/environment/10248028/Expert-supports-Moa-revival-idea Expert supports Moa revival idea]", ''stuff.co.nz'', 9 July 2014. Retrieved 25 July 2014.</ref><br />
<br />
==Moa in literature and culture==<br />
[[Heinrich Harder]] portrayed moa being hunted by Māori in the classic German collecting cards about extinct and prehistoric animals, "Tiere der Urwelt", in the early 1900s.<br />
<br />
A poem about moa, "The Skeleton of the Great Moa in the Canterbury Museum, Christchurch" by Allen Curnow,<ref>[http://nzpoems.blogspot.co.nz/2011/04/skeleton-of-great-moa-in-canterbury.html] The Skeleton of the Great Moa in the Canterbury Museum, Christchurch</ref> was released by The 1979 Anthology of New Zealand Poetry.<ref>O'Sullivan, V. (Ed.). (1979). An anthology of twentieth century New Zealand poetry. Wellington: Oxford University Press.</ref><br />
<br />
==See also==<br />
{{Portal|Birds|New Zealand}}<br />
* [[List of extinct New Zealand animals#Birds|List of extinct New Zealand animals]] (birds)<br />
* [[Moa-nalo]], several flightless ducks from the Hawaiian Islands that grew to be as large as geese.<br />
<br />
'''General:'''<br />
* [[Late Quaternary prehistoric birds]]<br />
* [[Island gigantism]]<br />
* [[Megafauna]]<br />
<br />
==Footnotes==<br />
{{Reflist|30em}}<br />
<br />
==Notes==<br />
{{Reflist|group=note}}<br />
<br />
== References ==<br />
{{refbegin|30em}}<br />
* {{cite journal |last=Anderson |first=A. |authorlink= |year=1989 |title=On evidence for the survival of moa in European Fiordland |journal=New Zealand Journal of Ecology |volume=12 |issue=Supplement |pages=39–44 |id= |url=http://www.newzealandecology.org/nzje/free_issues/NZJEcol12_s_39.pdf |accessdate= |quote= }}<br />
* {{cite web| url=https://www.youtube.com/watch?v=CHKbD07cbZA | title=Animal X Classic | accessdate=Feb 14, 2011 | author=Animal X TV | authorlink= |date= Aug 2003 | format= | work= | publisher= | location=| pages= | language= | doi= | quote= }}<br />
* {{cite journal |last=Baker |first=Allan J. |authorlink= |author2=Huynen, Leon J. |author3=Haddrath, Oliver |author4= Millar, Craig D. and Lambert, David M. |year=2005 |title=Reconstructing the tempo and mode of evolution in an extinct clade of birds with ancient DNA: The giant moas of New Zealand |journal=[[Proceedings of the National Academy of Sciences|PNAS]] |volume=102 |issue=23 |pages=8257–8262 |doi=10.1073/pnas.0409435102 |url= |accessdate= |quote=|pmid=15928096 |pmc=1149408 }}<br />
* {{cite web| url= http://www.taxonomy.nl/Main/Classification/80139.htm| title=Systema Naturae 2000 / Classification, Order Dinornithiformes | accessdate=Feb 4, 2009 | last=Brands | first=Sheila | authorlink= | date=August 14, 2008 | work=Project: The Taxonomicon }}<br />
* {{cite book |title=A history of the birds of New Zealand |last=Buller |first=W.L. |authorlink= |year=1888 |publisher=Buller |location=London |isbn= |pages= }}<br />
* {{cite journal |last=Bunce |first=Michael |authorlink= |author2=Worthy, Trevor H. |author3=Ford, Tom |author4=Hoppitt, Will |author5=Willerslev, Eske |author6= Drummond, Alexei |author7= Cooper, Alan |year=2003 |title=Extreme reversed sexual size dimorphism in the extinct New Zealand moa ''Dinornis'' |journal=[[Nature (journal)|Nature]] |pmid=12968178 |volume=425 |issue=6954 |pages=172–174 |doi=10.1038/nature01871 |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Burrows |first=C. |authorlink= |year=1981 |title=The diet of moas based on gizzard contents samples from Pyramid Valley, North Canterbury, and Scaifes Lagoon, Lake Wanaka, Otago |journal=Records of the Canterbury Museum |volume=9 |issue= |pages=309–336 |display-authors=etal}}<br />
* {{cite encyclopedia |last=Davies |first=S.J.J.F.|editor=Hutchins, Michael |encyclopedia=Grzimek's Animal Life Encyclopedia |title=Moas |edition=2 |year=2003 |publisher=Gale Group |volume=8 Birds I Tinamous and Ratites to Hoatzins |location=Farmington Hills, MI|isbn=0-7876-5784-0 |pages=95–98}}<br />
* {{cite book |title=A Pilgrimage to the Dawn of Life, The Ancestor's Tale |last=Dawkins |first=Richard |authorlink=Richard Dawkins|year=2004 |publisher=Houghton Mifflin|location=Boston |isbn=0-618-00583-8 |page=292}}<br />
* {{cite book |title=Travels in New Zealand |last=Dieffenbach |first=E. |authorlink= |year=1843 |publisher=John Murray |location=London |volume=II |pages=195 |isbn=1-113-50843-4 }}<br />
* {{cite web| url=http://skeptics.org.nz/SK:VIEWARTICLE::838 | title=Skeptics Meet Moa Spotters | accessdate=Feb 14, 2011 | last=Dutton | first=Dennis | authorlink= | year=1994 | format= | work=New Zealand Skeptics Online | publisher=New Zealand Committee for the Scientific Investigation of Claims of the Paranormal | location=New Zealand| pages= | language= | doi= | archiveurl=https://web.archive.org/web/20160308182827/http://skeptics.org.nz/SK%3AVIEWARTICLE%3A%3A838| archivedate=2016-03-08| dead-url=yes | quote= }}<br />
* {{cite journal |last=Forrest |first=R.M. |authorlink= |year=1987 |title=A partially mummified skeleton of ''Anomalopteryx didiformis'' from Southland |journal=Journal of the Royal Society of New Zealand |volume=17 |issue= |pages=399–408 |doi= 10.1080/03036758.1987.10426481|url= |accessdate= |quote= }}<br />
* {{cite book |last1=Fuller|first1=Errol |authorlink1= |editor1-first=Sarah |editor1-last=Bunney |editor1-link= |others= |title=Extinct Birds |url= |format= |accessdate= |edition= |series= |volume= |year=1987 |origyear= |publisher=The Rainbird Publishing Group |location=London, England |language= |isbn=0-8160-1833-2 |oclc= |doi= |id= |page= |pages= |chapter= |chapterurl= |quote= |ref= |bibcode= |laysummary= |laydate= |separator= |postscript= |lastauthoramp=}}<br />
* {{cite journal |doi=10.1080/03014220709510542 |last=Gill |first=BJ. |authorlink= |year=2007 |title=Eggshell characteristics of moa eggs (Aves: Dinornithiformes) |journal=Journal of the Royal Society of New Zealand|volume=37 |issue= 4|pages=139–150 }}<br />
* {{cite book|last =Gould| first= Charles|publisher = W.H. Allen & Co.|year = 1886|title =Mythical Monsters}}<br />
* {{cite web| url=http://www.newanimal.org/moas.htm | title=Moas and Other Giant Flightless Birds | accessdate= Feb 14, 2011 | last=Hall | first=Jamie | authorlink= | year=2006 | work=The Cryptid Zoo | publisher= | location=| pages= | language= | doi= | quote= }}<br />
* {{cite journal |last=Hamilton |first=A. |authorlink= |year=1894 |title=On the feathers of a small species of moa (''Megalapteryx didinus'') found in a cave at the head of the Waikaia River, with a notice of a moa-hunters camping place on the Old Man Range |journal=Transactions and Proceedings of the New Zealand Institute |volume=27 |issue= |pages=232–238 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Hartree |first=WH. |authorlink= |year=1999 |title=A preliminary report on the nesting habits of moas in the East Coast of the North Island |journal=Notornis |volume=46 |issue=4 |pages=457–460 |url=http://notornis.osnz.org.nz/system/files/Notornis_46_4_457.pdf }}<br />
* {{cite book|title= On the Track of Unknown Animal| last = Heuvelmans| first = Bernard| authorlink =Bernard Heuvelmans|publisher= Hill & Wang|year= 1959| location = New York, NY}}<br />
* {{cite journal |last=Hill |first=H. |authorlink= |year=1913 |title=The Moa—Legendary, Historical and Geographical: Why and When the Moa disappeared |journal=Transactions and Proceedings of the Royal Society of New Zealand |volume=46 |issue= |pages=330 |id= |url=http://rsnz.natlib.govt.nz/image/rsnz_46/rsnz_46_00_0368_0330_ac_01.html |accessdate= |quote= }}<br />
* {{cite journal |last=Holdaway |first=R. N. |authorlink= |author2=Jacomb, C. |year=2000 |title=Rapid Extinction of the Moas (Aves: Dinornithiformes): Model, Test, and Implications |journal=[[Science (journal)|Science]] |volume=287 |issue=5461 |pages=2250–2254 |doi=10.1126/science.287.5461.2250 |url= |accessdate= |quote=|pmid=10731144 }}<br />
* {{cite journal |last=Holdaway |first=R.N. |authorlink= |author2=Worthy, T.H. |year=1997 |title=A reappraisal of the late Quaternary fossil vertebrates of Pyramid Valley Swamp, North Canterbury |journal=New Zealand Journal of Zoology |volume=24 |issue= |pages=69–121 |doi= 10.1080/03014223.1997.9518107|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Horrocks |first=M. |authorlink= |year=2004 |title=Plant remains in coprolites: diet of a subalpine moa (Dinornithiformes) from southern New Zealand|journal=Emu |volume=104 |issue= 2|pages=149–156 |doi=10.1071/MU03019 |display-authors=etal}}<br />
* {{cite journal |last=Hutton |first=F.W. |authorlink= |author2=Coughtrey, M. |year=1875 |title=Notice of the Earnscleugh Cave |journal=Transactions and Proceedings of the New Zealand Institute |volume=7 |issue= |pages=138–144 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last1=Huynen|first1=Leon | last2=Gill|first2=Brian J.|last3=Millar|first3=Craig D. | last4=Lambert|first4=David M. |authorlink= |date=30 Aug 2010 |title=Ancient DNA Reveals Extreme Egg Morphology and Nesting Behavior in New Zealand's Extinct Moa |journal=Proceedings of the National Academy of Sciences |volume= 107|series= |issue=30 |pages= 16201–16206|publisher= |location= |pmid= 20805485|pmc= 2941315|doi=10.1073/pnas.0914096107 |bibcode= |oclc= |id= |language= |format= |laysummary= |laysource= |laydate= |quote=}}<br />
* {{cite journal |last=Huynen |first=Leon J. |authorlink= |last2=Millar |first2=Craig D. |last3=Scofield |first3=R. P. |last4= Lambert |first4=David M. |year=2003 |title=Nuclear DNA sequences detect species limits in ancient moa |journal=Nature |volume=425 |issue=6954 |pages=175–178 |doi=10.1038/nature01838 |url= |accessdate= |quote= |pmid=12968179 }}<br />
* {{cite web| url=http://www.hawkesbaytoday.co.nz/local/news/lead-story-birdman-says-moa-surviving-in-the-bay/3760032/ | title=Birdman says moa surviving in the Bay | accessdate=Feb 14, 2011 | last=Laing | first=Doug | authorlink= | date=Jan 5, 2008 | format= | work=Hawkes Bay Today | publisher=APN News & Media Ltd | location=| pages= | language= | doi= | quote= }}<br />
* {{cite journal |last=Millener |first=P. R. |authorlink= |year=1982 |title=And then there were twelve: the taxonomic status of Anomalopteryx oweni (Aves: Dinornithidae) |journal=[[Notornis (journal)|Notornis]] |volume=29 |issue= 1 |pmid=|pages=165–170 | url=http://notornis.osnz.org.nz/and-then-there-were-twelve-taxonomic-status-anomalopteryx-oweni-aves-dinornithidae }}<br />
* {{cite web| url=http://www.bird.org.nz/nzrbn.htm| title=New Zealand Recognised Bird Names (NZRBN) database| accessdate=Feb 14, 2011| author=OSNZ| authorlink=| date=Jan 2009| work=| publisher=Ornithological Society of New Zealand Inc.| location=| pages=| language=| doi=| archiveurl=https://web.archive.org/web/20150425022726/http://bird.org.nz/nzrbn.htm| archivedate=2015-04-25| quote=| deadurl=yes| df=}}<br />
* {{cite book |title=Memoirs on the Extinct Wingless Birds of New Zealand, with an Appendix of Those of England, Australia, Newfoundland, Mauritius and Rodriguez. |last=Owen |first=Richard |authorlink= |year=1879 |publisher=John van Voorst |location=London |isbn= |pages= }}<br />
* {{cite journal |last=Phillips|first=Matthew J. |authorlink= |last2=Gibb |first2=Gillian C. |last3=Crimp |first3=Elizabeth A. |last4= Penny |first4=David |year=2010 |title=Tinamous and Moa Flock Together: Mitochondrial Genome Sequence Analysis Reveals Independent Losses of Flight among Ratites |journal=Systematic Biology |pmid=20525622 |volume=59 |issue=1 |pages=90–107 |doi=10.1093/sysbio/syp079 |url=http://sysbio.oxfordjournals.org/cgi/content/full/59/1/90 |accessdate=Feb 1, 2010 |quote= }}<br />
* {{cite book |title=New Zealand: Being a Narrative of Travels and Adventures During a Residence in that Country Between the Years 1831 and 1837 |last=Polack |first=J. S. |authorlink= |year=1838 |publisher=Richard Bentley |location=London |volume=I |pages=303, 307 }}<br />
* {{Cite book|url= | title=Swift as a Shadow |first=Rosamond|last= Purcell| publisher=Mariner Books | page=32 | year=1999 | isbn=0-395-89228-7}}<br />
* {{cite web| url=http://www.bird.org.nz/nzrbn.htm | title=New Zealand Recognised Bird Names (NZRBN) database | accessdate=May 10, 2010 | last=Stephenson | first=Brent | authorlink= | date=January 5, 2009 | work= | publisher=Ornithological Society of New Zealand | location=New Zealand| pages= | language= | doi= | archiveurl=https://web.archive.org/web/20150425022726/http://bird.org.nz/nzrbn.htm | archivedate=2015-04-25 | quote= }}<br />
* {{cite journal |last=Turvey |first=Samuel T. |authorlink= |last2=Green |first2=Owen R. |last3= Holdaway |first3=Richard N. |year=2005 |title=Cortical growth marks reveal extended juvenile development in New Zealand moa |journal=Nature |volume=435 |issue=7044 |pages=940–943 |doi=10.1038/nature03635 |url= |accessdate= |quote= |pmid=15959513 }}<br />
* {{cite journal |last=Vickers-Rich |first=P. |authorlink= |author2=''et al. '' |year=1995 |title=Morphology, myology, collagen and DNA of a mummified moa, ''Megalapteryx didinus'' (Aves: Dinornithiformes) from New Zealand |journal=Tuhinga: Records of the Museum of New Zealand Te Papa Tongarewa |volume=4 |issue= |pages=1–26 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Wood |first=JR. |authorlink= |year=2007 |title=Moa gizzard content analyses: further information on the diet of ''Dinornis robustus'' and ''Emeus crassus'', and the first evidence for the diet of ''Pachyornis elephantopus'' (Aves: Dinornithiformes) |journal=Records of the Canterbury Museum |volume=21 |issue= |pages=27–39 }}<br />
* {{cite journal |doi=10.1080/03014220809510550 |last=Wood |first=JR. |authorlink= |year=2008 |title=Moa (Aves: Dinornithiformes) nesting material from rockshelters in the semi-arid interior of South Island, New Zealand |journal=Journal of the Royal Society of New Zealand|volume=38 |issue= 3|pages=115–129 }}<br />
* {{cite journal |last=Wood |first=J.R. |authorlink= |author2=Worthy, T.H. |author3=Rawlence, N.J. |author4=Jones, S.M. |author5=Read, S.E. |year=2008 |title=A deposition mechanism for Holocene miring bone deposits, South Island, New Zealand |journal=Journal of Taphonomy |volume=6 |issue= |pages=1–20 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |year=1989 |title=Mummified moa remains from Mt. Owen, northwest Nelson |journal=Notornis |volume=36 |issue= |pages=36–38 |doi= |url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |year=1998a |title=Quaternary fossil faunas of Otago, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=28 |issue= 3|pages=421–521 |doi= 10.1080/03014223.1998.9517573|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |year=1998b |title=The Quaternary fossil avifauna of Southland, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=28 |issue= 4|pages=537–589 |doi= 10.1080/03014223.1998.9517575|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1993 |title=Quaternary fossil faunas from caves in the Punakaiki area, West Coast, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=23 |issue= |pages=147–254 |doi= 10.1080/03036758.1993.10721222|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1994 |title=Quaternary fossil faunas from caves in Takaka Valley and on Takaka Hill, northwest Nelson, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=24 |issue= 3|pages=297–391 |doi= 10.1080/03014223.1994.9517474|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1995 |title=Quaternary fossil faunas from caves on Mt. Cookson, North Canterbury, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=25 |issue= 3|pages=333–370 |doi= 10.1080/03014223.1995.9517494|url= |accessdate= |quote= }}<br />
* {{cite journal |last=Worthy |first=T.H. |authorlink= |author2=Holdaway, R.N. |year=1996 |title=Quaternary fossil faunas, overlapping taphonomies, and paleofaunal reconstructions in North Canterbury, South Island, New Zealand |journal=Journal of the Royal Society of New Zealand |volume=26 |issue= 3|pages=275–361 |doi= 10.1080/03014223.1996.9517514|url= |accessdate= |quote= }}<br />
* {{cite book |title=The Lost World of the Moa |last=Worthy |first=Trevor H. |authorlink= |author2=Holdaway, Richard N. |year=2002 |publisher=Indiana University Press |location=Bloomington |isbn=0-253-34034-9 |pages= }}<br />
* {{cite web| url=http://www.teara.govt.nz/en/moa/4/2 | title=A moa sighting? | accessdate=Feb 14, 2011 | last=Worthy | first=Trevor H. | authorlink= |date= Mar 2009 | format= | work=Te Ara - the Encyclopedia of New Zealand | publisher= | location=| pages= | language= | doi= | quote= }}<br />
* {{cite web| url=http://blogs.discovermagazine.com/notrocketscience/2010/03/09/dna-from-the-largest-bird-ever-sequenced-from-fossil-eggshells/ | title=DNA from the Largest Bird Ever Sequenced from Fossil Eggshells | accessdate=Feb 14, 2011 | last=Yong | first=Ed | authorlink= |date= Mar 2010 | format= | work= | publisher=Discover Magazine | location=| pages= | language= | doi= | quote= }}<br />
{{refend}}<br />
<br />
==External links==<br />
{{Commons|Moa}}<br />
{{Wikispecies|Dinornithiformes|Moa}}<br />
* [http://www.terranature.org/extinctBirds.htm TerraNature list of New Zealand's extinct birds]<br />
* [http://www.terranature.org/moa.htm TerraNature page on Moa]<br />
* [http://tolweb.org/tree?group=Dinornithidae Tree of Life classification and references]<br />
* [http://www.teara.govt.nz/en/moa/page-1 Moa article] in Te Ara - the Encyclopedia of New Zealand<br />
* [https://sketchfab.com/models/dc2ff43384ed4f70a3ea098992f9b160 3D model of a moa skull]<br />
<br />
{{Cryptozoology}}<br />
{{Birds of New Zealand}}<br />
{{Taxonbar|from=Q452969}}<br />
{{Authority control}}<br />
<br />
[[Category:Dinornithidae|*]]<br />
[[Category:Extinct flightless birds]]<br />
[[Category:Higher-level bird taxa restricted to New Zealand]]<br />
[[Category:Late Quaternary prehistoric birds]]<br />
[[Category:Extinct birds of New Zealand]]<br />
[[Category:Ratites]]<br />
[[Category:Bird extinctions since 1500]]<br />
[[Category:Species made extinct by human activities]]<br />
[[Category:Animals with only two limbs]]<br />
[[Category:Miocene first appearances]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Flag_of_Texas&diff=771574448Flag of Texas2017-03-22T09:20:44Z<p>5.35.187.134: </p>
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|Symbol =<br />
|Proportion = 2:3<br />
|Adoption = January 25, 1839 <br> Readopted: August 31, 1933 <small>(''[[De facto]]'' use between 1879-1933)</small><ref name=hbot/><br />
|Design = ⅓ of the hoist is blue containing a single centered white star. The remaining field is divided horizontally into a white and red bar.<br />
|Designer = Unknown<ref>{{cite web | url = http://www.texflags.org/stewart.htm | title = The Stewart Myth | accessdate = 2013-05-12 | author = Vexillological Assn. of the State of Texas}}</ref><br />
|Type = State<br />
}}<br />
<br />
The '''[[flag]] of the [[Texas|state of Texas]]''' is defined by law as follows:<br />
<br />
{{quote|The state flag is adfsdfasfsdfsdafsdaf rectangle that: (1) has a width to length ratio of two to three; and (2) contains: (A) one blue vertical stripe that has a width equal to one-third the length of the flag; (B) two equal horizontal stripes, the upper stripe white, the lower stripe red, each having a length equal to two-thirds the length of the flag; and (C) one white, regular five-pointed star: (i) located in the center of the blue stripe; (ii) oriented so that one point faces upward; and (iii) sized so that the diameter of a circle passing through the five points of the star is equal to three-fourths the width of the blue stripe.<ref name="Texas Flag Code: Sec. 3100">{{cite web|url=http://www.statutes.legis.state.tx.us/Docs/GV/htm/GV.3100.htm|title=GOVERNMENT CODE CHAPTER 3100. STATE FLAG|work=state.tx.us|accessdate=23 June 2015}}</ref>}}<br />
<br />
The prominent single star on the Texas flag gives the flag itself the commonly-used name "Lone Star Flag" (which, in turn, gives rise to the state's nickname: "The Lone Star State"). The current design of the flag was introduced to the Congress of the [[Republic of Texas]] on December 28, 1838, by Senator [[William H. Wharton]],<ref name=hbot>{{Handbook of Texas|id=msf01|name=Flags of Texas}}</ref> was adopted on January 25, 1839, and eventually became the current state flag. The flag, flown at homes and businesses statewide, is highly popular among Texans and is treated with a great degree of reverence and esteem within Texas. In 2001, a survey conducted by the [[North American Vexillological Association]] rated the Texas state flag second best in design quality out of the 72 Canadian provincial, U.S. state, and U.S. territory flags ranked. The flag earned 8.13 out of 10 possible points.<ref>{{cite web |url=http://www.nava.org/flag-design/survey/state-provincial-survey-2001 |title=2001 State/Provincial Flag Survey |work=North American Vexillological Association |date=2001 |deadurl=yes |archiveurl=https://web.archive.org/web/20150208083305/http://www.nava.org/flag-design/survey/state-provincial-survey-2001 |archivedate=2015-02-08 |accessdate=2016-01-25 }}</ref><br />
<br />
==History and adoption==<br />
[[File:TexasFlagHoustonShipChannelTourBoat02Apr16.jpg|thumb|Lone Star Flag, flying on the [[Houston Ship Channel]] tour boat, on April 2, 2016.]]<br />
This flag was introduced to the Congress of the [[Republic of Texas]] on December 28, 1838, by Senator [[William H. Wharton]]<ref name=hbot/> and was adopted on January 25, 1839, as the final [[national flag]] of the Republic of Texas.<ref name=hbot/> When [[Texas]] became the 28th state of the [[United States|Union]] on December 29, 1845, the national flag became the [[Flags of the U.S. states|state flag]]. From 1879 until 1933 there was no official state flag, although the Lone Star remained the [[de facto]] state flag. The Revised Civil Statutes of 1879<ref>{{cite web|url=http://www.sll.texas.gov/library-resources/collections/historical-texas-statutes-(1879-1925)/1879/|title=Revised Civil and Criminal Statutes of Texas, 1879|author=AL|work=texas.gov|accessdate=23 June 2015}}</ref> repealed all statutes not explicitly renewed and since the statutes pertaining to the flag were not among those renewed, Texas was formally flagless until the passage of the Texas Flag Code in 1933.<ref name=hbot/><br />
<br />
The actual designer of the flag is unknown.<ref name=hbot/> Dr. [[Charles B. Stewart]] is credited with drawing the image used by the Third Congress when enacting the legislation adopting the flag,<ref>{{cite web | url = http://www.texflags.org/stewart.htm | title = The Stewart Myth | accessdate = 2013-05-12 |author = Vexillological Assn. of the State of Texas}}</ref><ref>[{{Handbook of Texas|id=fst53|name=Stewart, Charles Bellinger Tate}}]</ref> and Sen. William H. Wharton introduced the flag to Congress.<ref name=hbot/><br />
<br />
==Colors and symbolism==<br />
The exact shades of red, white, and blue to be used in the flag are specified by Texas statute<ref>{{cite web|url=http://www.statutes.legis.state.tx.us/Docs/GV/htm/GV.3100.htm#3100.002|title=GOVERNMENT CODE CHAPTER 3100. STATE FLAG|work=state.tx.us|accessdate=23 June 2015}}</ref> to be the same as those of the [[flag of the United States]], which are as follows:<br />
<br />
{| class="wikitable"<br />
|-<br />
! Color<br />
! [[Cable colors|Cable color]]<br />
! [[Pantone]]<ref>The [[Pantone]] color equivalents for ''Old Glory'' Blue and Red are listed on [http://london.usembassy.gov/rcflags.html U.S. Flag Facts] at the U.S. Embassy's London site.</ref><br />
! [[Web colors|Web color]]<ref>The RGB color values are taken from the [http://www.pantone.com/pages/pantone/colorfinder.aspx Pantone Color Finder] at [http://www.pantone.com/ Pantone.com].</ref><br />
! RGB Values<br />
|-<br />
| {{Color box|#BF0A30}} Dark Red<br />
| 70180<br />
| 193 C<br />
| <code>#BF0A30</code><br />
| (191,10,48)<br />
|-<br />
| {{Color box|#FFFFFf}} White<br />
| 70001<br />
| Safe<br />
| <code>#FFFFFF</code><br />
| (255,255,255)<br />
|-<br />
| {{Color box|#002868}} Royal Blue (traditional)<br />
| 70075<br />
| 281 C<br />
| <code>#002868</code><br />
| (0,40,104)<br />
|}<br />
<br />
The Texas Flag Code assigns the following [[symbol]]ism to the colors of the Texas flag: blue stands for loyalty, white for purity, and red for bravery.<ref name='flaglaw'>{{Cite web|url=http://tlo2.tlc.state.tx.us/statutes/docs/GV/content/htm/gv.011.00.003100.00.htm |title=GOVERNMENT CODE: CHAPTER 3100. STATE FLAG |accessdate=2007-10-21 |date=2001-09-01 |publisher=State of Texas |archiveurl =https://web.archive.org/web/20071013074003/http://tlo2.tlc.state.tx.us/statutes/docs/GV/content/htm/gv.011.00.003100.00.htm|archivedate = 2007-10-13}}</ref> The code also states that single (''lone'') star "represents ALL of Texas and stands for our unity as one for God, State, and Country." The "lone star" is, in fact, an older symbol predating the flag which was used to symbolize Texans' solidarity in declaring independence from Mexico.<ref>{{Cite book|url=https://books.google.com/books?id=YE1l7gjB0FMC|title=The Shape of Texas: Maps as Metaphors|author=Francaviglia, Richard V.|publisher=Texas A&M University Press|year=1996|page=80 | isbn=978-0-89096-664-8}}</ref> It is still seen today as a symbol of Texas' independent spirit, and gave rise to the state's official nickname "The Lone Star State."<br />
<br />
The idea of the single red stripe and single white stripe actually dates back to the short-lived [[Republic of Fredonia]], a small state near modern [[Nacogdoches, Texas|Nacogdoches]] which seceded from Mexico in 1826 before being forcibly re-integrated. The new state was formed through an alliance between local [[English American|Anglo]] settlers and [[Indigenous peoples of the Americas|Native American]] tribes and the Fredonian flag used a white and red stripe to symbolize the two ethnic/racial groups from which the state was formed.<ref>{{Cite book|url=https://books.google.com/books?id=pnVcfj-MmCEC|title=Origin history American flag naval yacht-club signals, seals arms, principal national songs United States, chronicle symbols, standards, banners, flags ancient modern nations|author1=Preble, George Henry |author2=Asnis, Charles Edward |publisher=Central Press Co.|location=Philadelphia|year=1917|page=635}}</ref> Though this rebellion ultimately failed it served as an inspiration to the later [[Texas Revolution]].<br />
<br />
==Pledge of allegiance and flag protocol==<br />
[[File:Flag of Texas (proper vertical display).svg|thumb|right|upright|Proper vertical display of the Texas flag]]<br />
<br />
The pledge of allegiance to the state flag is as follows:<br />
<br />
{{cquote|Honor the Texas flag; I pledge allegiance to thee, Texas, one state under God, one and indivisible.<ref name='pledge'>{{Cite web|url=http://www.tsl.state.tx.us/ref/abouttx/flagpledge.html |title=Pledge of allegiance to the state flag |accessdate=2007-10-21 |year=2007 |work=Texas State Library and Archives Commission |publisher=State of Texas }}</ref>}}<br />
<br />
The pledge was instituted by the Texas Legislature in 1933, and originally referred to the "Texas flag of 1836" (which was the Burnet Flag, and not the Lone Star Flag then in use). In 1965, the error was corrected by deleting the words "of 1836." In 2007, the phrase "one state under God" was added.<ref name='pledge'/> The addition of "under God" has been challenged in court, though an injunction was denied.<ref>David Wallace Croft, "[http://www.croftpress.com/david/politics/pledge/ State Pledge]."</ref><br />
<br />
The flag is required by law to be displayed on or near the main administration building of each state institution during each state or national holiday, and on any special occasion of historical significance,<ref name="Texas Flag Code: Sec. 3100"/> permanently above both doors of the Texas State Capitol, alone at the north door, and under the U.S. flag at the south door, with the exception being if the flags are at half mast or if the [[POW/MIA flag]] is being flown with the U.S. flag; in which event the Texas flag shall only fly at the North Door.<ref>{{cite web|url=http://www.statutes.legis.state.tx.us/SOTWDocs/GV/htm/GV.443.htm|title=GOVERNMENT CODE CHAPTER 443. STATE PRESERVATION BOARD|work=state.tx.us|accessdate=23 June 2015}}</ref> State law also requires that the state flag be flown at or near any International Port of Entry.<ref>{{cite web|url=http://www.statutes.legis.state.tx.us/Docs/TN/htm/TN.201.htm|title=TRANSPORTATION CODE CHAPTER 201. GENERAL PROVISIONS AND ADMINISTRATION|work=state.tx.us|accessdate=23 June 2015}}</ref> When displayed vertically, the blue stripe should be at top and, from the perspective of an observer, the white stripe should be to the left of the red stripe.<ref>{{cite web|url=http://www.statutes.legis.state.tx.us/Docs/GV/htm/GV.3100.htm#3100.051|title=GOVERNMENT CODE CHAPTER 3100. STATE FLAG|work=state.tx.us|accessdate=23 June 2015}}</ref><br />
<br />
==Historical flags of Texas==<br />
<br />
===National flags over Texas===<br />
<br />
{{See also|Six flags over Texas}}<br />
<br />
<gallery><br />
File:Pavillon_royal_de_France.svg|1685–1689 <br> French flag possibly used by [[René-Robert Cavelier, Sieur de La Salle]], during the [[French colonization of Texas]]<br />
File:Flag_of_New_Spain.svg|1690–1785 <br> State flag and ensign of [[New Spain]], also known as the [[Cross of Burgundy flag]]<br />
File:Flag_of_Spain_(1785-1873_and_1875-1931).svg|1785–1820 <br> Spanish [[Flag of Spain#The origins of the present ensign: Charles III|state flag on land]]<br />
File:Bandera_del_Primer_Imperio_Mexicano.svg|1821–1823 <br> Flag of the [[Flag of Mexico#History|first Mexican Empire]]<br />
File:Flag_of_Mexico_(1823-1864,_1867-1893).svg|1823–1836 <br> [[Flag of Mexico#History|First flag of the Mexican Republic]], flown over soil claimed by Mexico until the [[Texas Revolution]]<br />
File:Flag_of_Republic_of_Texas_(1836-1839).svg|1836–1839; 1839–1879 <br> The "Burnet Flag," used from December 1836 to 1839 as the national flag of the [[Republic of Texas]] until it was replaced by the currently used "Lone Star Flag"; it was the ''de jure'' war flag from then until 1879<ref>{{cite web|title=Flags of Texas|url=https://tshaonline.org/handbook/online/articles/msf01|website=Handbook of Texas Online|publisher=Texas State Historical Association|accessdate=June 3, 2016}}</ref><br />
File:Flag of Texas.svg|1839–1845/1846 <br> [[Republic of Texas]] national flag from 1839-1845/1846 (identical to modern state flag)<br />
File:US flag 28 stars.svg|1845–1861, 1865–present <br> [[US flag]] in 1846 when Texas became part of the Union (for further US flags, see [[US flag#Historical progression of designs|USA flag: Historical progression of designs]])<br />
File:CSA FLAG 4.3.1861-21.5.1861.svg|1861–1865 <br> [[Flags of the Confederate States of America|CS flag]] in 1861 when Texas became a part of the Confederacy (for further CS flags, see [[Flags of the Confederate States of America#National flags|CS flag: National flags]])<br />
</gallery><br />
<br />
===Pre-Revolutionary Flags===<br />
<gallery><br />
File:Magee-Gutierrez Coup d'état Flag.svg|Emerald flag of [[Gutiérrez–Magee Expedition|Augustus W. Magee and Bernardo Gutierrez's short-lived coup of 1812-1813]]<br />
File:Louis de Aury Flag.svg|1816–17 – Used by [[Louis-Michel Aury]] as Civil and Military Governor of Texas<br />
File:Flag_of_New_Granada_(1811-1814).svg|1817–21 – Used by pirate [[Jean Lafitte]] at Galveston Island<br />
File:Jane Long Flag.svg|1819, The First uniquely Texan flag to predominantly feature a lone star. <br />
File:Colonel James Long's Flag.svg|Colonel James Long's flag – the second of the Texas flags with a Lone Star after the "Jane Long" flag<br />
File:Fredonian Rebellion Flag of 1826.svg|1826 – Flag of the Fredonian Rebellion<br />
File:Flag of Coahuila y Tejas.svg| Purported flag of the Mexican state of Coahuila y Tejas, though the style and color of the stars are speculative.<br />
</gallery><br />
<br />
===Revolutionary flags===<br />
<br />
During revolutionary eras of Texas history, during the [[Spanish Texas]] period, [[Mexican Texas]] period, and the times of the [[Texas Revolution]], a great number and variety of flags appeared.<br />
<br />
<gallery><br />
File:Texas Flag Come and Take It.svg|The Come and Take It Flag – 1835 – This flag was used by Texas settlers at the Battle of Gonzales in October 1835<br />
File:Goliad Flag.svg|1835 – Flag Flown over the Goliad Declaration of Independence; possibly the "Bloody arm flag" reported to have accompanied the Dodson flag at the Texas Declaration of Independence<br />
File:1824 Flag.svg|"The Alamo Flag" – 1835–1836 – Created in 1835, this flag was a reference to the Mexican constitution of 1824, in support of which the Texas rebels were fighting; supposedly flew at the Alamo<br />
File:Brown's Flag of Independence.svg|1836 – Brown Flag of Independence, possibly the "Bloody arm flag" reported to have accompanied the Dodson flag at the Texas Declaration of Independence<br />
File:Texas Dodson Flag.svg|The Dodson Tricolor or the Dodson Flag - Designed and sewn by a Mrs. Sarah Dodson during the Revolution<br />
File:Texas (Proposed Flag).svg|Flag designed by Stephen F. Austin between December 1835 and January 1836 while serving as a commissioner to the United States<br />
File:Flag_of_Republic_of_Texas_(1836-1839).svg|1836–1839; 1839–1879 <br> The "Burnet Flag," used from 1836 to 1839 as the national flag of the [[Republic of Texas]] until it was replaced by the currently used "Lone Star Flag"; it was the ''de jure'' war flag from then until 1879.<br />
File:Flag of the Republic of Texas (1835-1839).svg|1836–39 – The Lone Star and Stripes/Ensign of the First Texas Navy/War Ensign ; it was the ''de facto'' national flag between 1835-1839<br />
File:De Zavala Flag.svg|The purported first official flag of the Republic of Texas, reportedly designed by [[Lorenzo de Zavala]]<br />
File:Captain Scott's Flag.svg|Captain William Scott's Liberals carried this flag in the Battle of Concepcion on October 28, 1835<br />
File:Flag of Georgia Battalion.svg|The flag under which the Georgia Battalion of Volunteers marched to Texas to participate in the fight against Mexico<br />
File:Baker's San Felipe Flag.svg|Inspired by Gail Borden Jr., this flag was claimed to have been flown at the Battle of San Jacinto<br />
File:Captain Burroughs' Flag From Ohio.svg|Captain George H. Burroughs and company from Ohio came to Texas under this banner<br />
File:Flag of the New Orleans Grays.svg|The New Orleans Grays participated in driving the Mexicans from San Antonio and many were massacred at Goliad<br />
File:Red Rover's Flag.svg|The flag of the Red Rovers of Alabama who were massacred with Colonel James Fannin at the Battle of Goliad on March 27, 1836<br />
File:San Jacinto Flag.svg|San Jacinto Liberty Flag – The Sherman regiment carried this flag to victory at the decisive battle of San Jacinto<br />
File:Flag of the Republic of the Rio Grande.svg|1840 – [[Republic of the Rio Grande]], which claimed control over a large section of [[South Texas]]<br />
</gallery><br />
<br />
The Lone Star and Stripes/Ensign of the First Texas Navy/War Ensign flag was widely used by both Texan land and naval forces. This flag was simply the [[United States flag]] with a Lone star in the canton. This flag echoes an earlier design, carried by the forces of [[James Long (filibuster)|James Long]] in failed 1819 and 1821 attempts to separate Texas from Spanish control. This earlier flag was exactly the same, save for the canton having a red background rather than blue. There is evidence that the Lone Star and Stripes was used at the battles of Goliad, the Alamo, and San Jacinto. Although interim President David Burnet issued a decree making the Lone Star and Stripes the first official flag of the Republic of Texas, it never became the legal national flag. It did remain the naval flag of Texas until annexation, and was noted for being "beneficial to our [Texan] Navy and Merchantmen" due to its resemblance to the U.S. flag. Despite its unofficial status, the flag remained well known inside the region and internationally as the symbol of Texas. The official blue and gold "Burnett Flag," on the other hand, was little known by Texans, and no contemporary illustrations of it have been discovered. An 1837 chart of national flags printed in Philadelphia showed the Lone Star and Stripes as the national flag of Texas, and Texas Senator Oliver Jones, who led the 1839 committee which approved the Lone Star Flag, was unaware that the Lone Star and Stripes was not the current official flag.<ref>{{cite book | last=Maberry | first=Robert, Jr.| title=Texas Flags|publisher=Texas A&M University Press |year=2001|isbn=978-1-58544-151-8|location=College Station|pages=28–38}}</ref> Later, prior to the [[American Civil War]], this flag was carried by Floridian militiamen in Pensacola during the seizure of U.S. property in that city.{{citation needed|date=May 2012}}<br />
<br />
The "Come and Take It Flag" was created by the people of Gonzales, featuring the phrase, a black five pointed star, and the image of the town cannon Mexican forces had demanded they turn over. In March 1831, Juan Gomez, a Lieutenant in the Mexican Army, granted a small cannon to the colony of San Antonio. It was then transported to Gonzales, Texas and later was the object of Texas pride. At the minor skirmish known as the [[Battle of Gonzales]], a small group of Texans successfully resisted the Mexican forces who had orders to seize their cannon. As a symbol of defiance, the Texans had fashioned a flag containing the phrase along with a black star and an image of the cannon which they had received six years earlier from Mexican officials.<br />
<br />
The so-called "Alamo Flag" or "1824 flag" was created by replacing the Eagle in the center of the Mexican tricolor with the year "1824," referencing the [[1824 Constitution of Mexico]], in support of which Texas was fighting. This was the first flag approved for use by rebel forces by a Texan legislative body. In 1835, the Texan provisional government approved the use of this flag for privateers preying on Mexican commerce. It has often been said that the 1824 flag was flown by Texan forces at the [[Battle of the Alamo]]. However, this was never alleged until 1860, long after the battle had occurred. Modern writers have pointed out that the presence of the 1824 flag at the time and place of the battle is highly unlikely. A similar flag was flown at least briefly by Texan Tejano forces, featuring two black, six pointed stars in place of the date. It is likely that the actual "Alamo flag" referred to by accounts of the time was the Lone Star and Stripes, which had been depicted in use at earlier battles such as Goliad, and was widely referred to as the "[[Texian]] flag."<ref>{{cite book | last=Maberry | first=Robert, Jr.| title=Texas Flags |publisher=Texas A&M University Press |year=2001|isbn=978-1-58544-151-8|location=College Station|pages=11, 26, 28–32}}</ref><br />
<br />
The Dodson Tricolor or Dodson flag was designed and sewn by a Mrs. Sarah Dodson during the Revolution. It resembled the flag of Revolutionary France, but with longer proportions and the Texan Lone Star in the canton. [[Stephen F. Austin]] was initially so alarmed by the obvious symbolism that he requested the flag not be used, but it nevertheless flew over Texan forces in [[Cibolo Creek]], and may have been the first Texan flag raised over San Antonio. The flag was one of two that flew over the small cabin in which Texas delegates ratified their declaration of independence.<br />
<br />
===Republic of Texas flags===<br />
<br />
<gallery><br />
File:Flag_of_Republic_of_Texas_(1836-1839).svg|{{FIAV|historical}}{{FIAV|111000}}1836–1839; 1839–1879 {{FIAV|001000}} <br> The "Burnet Flag," used from 1836 to 1839 as the national flag of the [[Republic of Texas]] until it was replaced by the currently used "Lone Star Flag"; it was the ''de jure'' war flag from then until 1879<br />
File:Flag of the Republic of Texas (1835-1839).svg|{{FIAV|historical}}{{FIAV|000001}}1836–1839 <br> War ensign and ''de facto'' national flag between 1835–1839; replaced by the currently used "Lone Star Flag" upon its adoption; it was also the ensign of the First [[Texas Navy]] from 1836–1839, when it was officially replaced by the "Lone Star Flag" as the naval ensign<br />
File:Flag of Texas.svg|1839–1845/6 <br> The "Lone Star Flag," the [[Republic of Texas]] national flag from 1839-1845/6; official naval ensign for the [[Texas Navy]] from 1839<br />
File:Texas Revenue Service Flag (1839-1845).svg|1839–1845 <br> Revenue Service Flag<br />
File:Texas Coasting Trader Flag (1839-1845).svg|1839–1845 <br> Coasting Trader Ensign<br />
File:Texas Pilot Flag (1839-1845).png|1839–1845 <br> Pilot flag<br />
</gallery><br />
<br />
The Burnet Flag was adopted by the Texan Congress on December 10, 1836. The name refers [[David G. Burnet]], who was provisional president of the Republic of Texas when the flag was adopted.<ref name=hbot/> It consisted of an azure background with a large golden star, inspired by the 1810 "[[Bonnie Blue Flag]]" of the [[Republic of West Florida]].<ref>{{cite book | last = Allman | first = T.D.| authorlink = T. D. Allman | title = Finding Florida The True History of the Sunshine State | publisher = [[Atlantic Monthly Press]] | edition = First | location = New York | year = 2013 | page = 63 |isbn = 978-0-8021-2076-2 }}</ref> Variants of the Burnet Flag with a white star, virtually identical to the Bonnie Blue Flag, were also common. Other variants featured the star (of either color) upside down, and/or ringed with the word TEXAS, with each letter filling one of the gaps of the star.<br />
<br />
===State flags over Texas===<br />
<br />
<gallery><br />
File:Flag_of_Coahuila_y_Tejas.svg|1824–1835 <br> Flag of the State of [[Coahuila y Tejas]] in the [[United Mexican States (1824–1864)|Republic of Mexico]]<br />
File:Flag of Texas.svg|1845–present <br> Flag of the State of [[Texas]] in the United States of America<br />
</gallery><br />
<br />
===Secession flags of Texas, 1861===<br />
<br />
In early 1861, between the [[Texas in the American Civil War|secession of Texas from the US]] and its accession to the Confederacy, Texas flew an unofficial, variant flag of Texas with fifteen stars, representing the fifteen states. No drawings exist of the flag, there are only imprecise descriptions. The flag may have been based on the state flag or the [[Bonnie Blue Flag]].<ref>{{cite journal|last1=Kiel |first1=Frank Wilson |date=January 2000 |title=A Fifteen-Star Texas Flag: A Banner Used at the Time of Secession: February 1861 and March 1861|journal=The Southwestern Historical Quarterly |volume=103 |issue=3 |pages=356–365|url=http://texashistory.unt.edu/ark:/67531/metapth101220/m1/403/ |accessdate=27 February 2013}}</ref><br />
<br />
<gallery><br />
File:Texas Secession Flag, Variant 1.svg|Possible secession flag based on the state flag<br />
File:Texas Secession Flag, Variant 2.svg|Possible secession flag based on the Bonnie Blue Flag<br />
</gallery><br />
<br />
==Urban legend==<br />
[[File:Texas Capitol Flags.jpg|thumb|The Texas flag flying below the US flag at the [[Texas State Capitol]]]]<br />
<br />
It is a common [[urban legend]] that the Texas flag is the only state flag that is allowed to fly at the same height as the [[Flag of the United States|U.S. flag]]. Allegedly, Texas has this right inherently (as a former independent nation) or because it negotiated special provisions when it joined the Union (this version has been stated as fact on a PBS website).<ref>''[http://www.pbs.org/speak/seatosea/americanvarieties/texan/ Texas English]'', from the "Do You Speak American?" series. Article by Jan Tillery and Guy Bailey of the University of Texas at San Antonio.</ref> However, the legend is false.<ref>{{cite web|url=http://www.snopes.com/history/american/texasflag.asp|title=snopes.com: Texas Flag Flies at the Same Height as the U.S. Flag?|work=snopes.com|accessdate=23 June 2015}}</ref> Neither the [[Joint Resolution]] for [[Texas Annexation|Annexing Texas]] to the United States nor the Ordinance of Annexation<ref>{{cite web|url=http://www.tsl.state.tx.us/ref/abouttx/annexation/4july1845.html|title=Ordinance of Annexation Approved by the Texas Convention on July 4, 1845 - TSLAC|work=state.tx.us|accessdate=23 June 2015}}</ref> contain any provisions regarding flags. According to the [[United States Flag Code]], any state flag can be flown at the same height as the U.S. flag, but the U.S. flag should be on its right (the viewer's left). Consistent with the U.S. Flag Code, the Texas Flag Code specifies that the state flag should either be flown below the U.S. flag if on the same pole or at the same height as the U.S. flag if on separate poles.<ref name='flaglaw'/><br />
<br />
==Similar flags==<br />
* Texas's flag is similar to the [[flag of Chile]], first used in 1817. However, the Chilean flag has a blue [[Glossary of vexillology#Basic patterns in flags|canton]] with a white star rather than the entire left side being blue. The red bottom stripe begins below the canton. The Chilean Flag predates the Lone Star Flag by 22 years.<ref name="Williams2013">{{cite book|author=C. Herndon Williams|title=True Tales of the Texas Frontier: Eight Centuries of Adventure and Surprise|url=https://books.google.com/books?id=AlkVBAAAQBAJ&pg=PT60|date=7 May 2013|publisher=The History Press|isbn=978-1-62584-167-4|pages=60–}}</ref><br />
* As shown above, the Republic of the Rio Grande flag was similar to Texas' only in that there were three stars with a red hoist, and black and white bars on the side instead of one star with a blue hoist and white and red bars. It is currently the flag of [[Laredo, Texas]], its proposed capital.<br />
* The [[flag of North Carolina]] is similar to the flag of Texas; North Carolina's flag has the same basic pattern as Texas's; however, the colors of the fly are reversed. In addition, the star in the hoist is smaller and is surrounded by scrolls and lettering. The Lone Star Flag predates North Carolina's current flag by 47 years.<ref>{{cite book|title=Texas flags|url=https://books.google.com/books?id=TM3WMV3HpQ4C&pg=PA173|publisher=Texas A&M University Press|isbn=978-1-60344-369-2|pages=173–}}</ref><br />
* The flag of Texas is quite similar to the "Flag of Céspedes" or "[[:es:Archivo:Naval Jack of Cuba.svg|flag of La Demajagua]]," one of the two flags used during the [[Cuban War of Independence]].<ref name="RamonetCastro2008">{{cite book|author1=Ignacio Ramonet|author2=Fidel Castro|title=Fidel Castro: My Life: A Spoken Autobiography|url=https://books.google.com/books?id=Z4H45OczqPYC&pg=PA144|date=11 March 2008|publisher=Simon and Schuster|isbn=978-1-4165-6250-4|pages=144–}}</ref><br />
<br />
==Proposed Governor's flag==<br />
{{See also|Flags of the Governors of the U.S. States}}<br />
<br />
Legislation was introduced to the [[Texas Legislature]] in 2007<ref>{{Cite web|url=http://www.legis.state.tx.us/billlookup/History.aspx?LegSess=80R&Bill=HB3661|title=80(R) History for HB 3661|last=|first=|date=|website=www.legis.state.tx.us|archive-url=|archive-date=|dead-url=|access-date=2017-02-19}}</ref> and 2009<ref>{{Cite web|url=http://www.legis.state.tx.us/billlookup/History.aspx?LegSess=81R&Bill=HB2500|title=81(R) History for HB 2500|last=|first=|date=|website=www.legis.state.tx.us|archive-url=|archive-date=|dead-url=|access-date=2017-02-19}}</ref> to adopt the 1839 pilot flag of the Republic of Texas as the official flag of the [[Governor of Texas]], but neither bill made it out of committee. Amendments to the Texas Flag Code, signed into law in 1993, authorize the Governor to adopt a flag of his or her own choosing, but this executive authority has not been exercised.<ref>{{Cite web|url=http://www.legis.state.tx.us/tlodocs/73R/billtext/html/HB01463F.htm|title=73(R) HB 1463 Enrolled version - Bill Text|website=www.legis.state.tx.us|access-date=2017-02-19}}</ref><br />
<br />
==See also==<br />
* [[Symbols of the State of Texas]]<br />
* [[Six flags over Texas]]<br />
* [[World's Largest Texas Flag]]<br />
<br />
{{Portal bar|Texas}}<br />
<br />
==References==<br />
{{reflist|30em}}<br />
<br />
==Further reading==<br />
*{{cite book | last = Gilbert | first = Charles | title = Flags of Texas | publisher = Pelican Publishing | location = Gretna, LA | year = 1989 | isbn = 0-88289-721-7 }}<br />
*{{cite journal|last=Kemp|first=L. W.|title=Official Flags of the Republic of Texas|journal=Southwestern Historical Quarterly|volume=59|issue=4|date=April 1956|url=http://texashistory.unt.edu/ark:/67531/metapth101162/m1/513/}}<br />
*{{cite book | last=Maberry | first=Robert, Jr.| title=Texas Flags |publisher=Texas A&M University Press |year=2001 |isbn=978-1-58544-151-8|location=College Station}}<br />
*{{cite journal | title = Flags and Seals of Texas | journal = South Texas Law Review | date = February 1992 | first = Charles A. | last = Spain, Jr. | volume = 33 | issue = 1 | pages = 215–259 | url = http://www.flagguys.com/pdf/txspain1.pdf}}<br />
<br />
==External links==<br />
{{Commons category|Flags of Texas}}<br />
* [http://www.tsl.state.tx.us/ref/abouttx/flagcode.html Texas Flag Code]<br />
* [http://www.tamu.edu/ccbn/dewitt/indepenflgs.htm Flags of Texas Independence Movements 1835-1836]<br />
* [http://www.crwflags.com/fotw/flags/us-txhs.html#redstar Historical Texas Flags]<br />
* [http://texashistorypage.com/Origin_of_the_Lone_Star_Flag.html Origin of the Lone Star Flag of Texas]<br />
* [http://www.flagguys.com/pdf/txspain1.pdf "Flags and Seals of Texas"] by Charles A. Spain, Jr., ''South Texas Law Review''<br />
* {{Handbook of Texas | id=msf01 | name=Flags of Texas}}<br />
* {{Handbook of Texas | id=msf02 | name=Flags of the Texas Revolution}}<br />
* [http://www.texflags.org/stewart.htm The Stewart Myth]<br />
* [http://www.texflags.org/flagfold.htm Official procedure for folding the flag of Texas]<br />
<br />
{{US_state flags}}<br />
{{Six flags of Texas}}<br />
{{Texas}}<br />
<br />
{{DEFAULTSORT:Flag Of Texas}}<br />
[[Category:Flags of Texas|Texas]]<br />
[[Category:Symbols of Texas]]<br />
[[Category:United States state flags|Texas]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Naruto_Shippuden:_Ultimate_Ninja_Storm_4&diff=763994014Naruto Shippuden: Ultimate Ninja Storm 42017-02-06T12:40:58Z<p>5.35.187.134: </p>
<hr />
<div>{{Infobox video game<br />
| title = Naruto Shippuden: Ultimate Ninja Storm 4<br />
| image = NSUNS4 game cover.png <br />
| caption = <br />
| developer = [[abdullahi<br />
]]<br />
| publisher = [[Bandai Namco Entertainment]]<br />
| director = Yohei Ishibashi<br />
| producer = Yuki Nishikawa<br />
| writer = Shigeaki Fujino<br />
| composer = Chikayo Fukuda<br />
| series = ''[[Naruto: Ultimate Ninja]]<br />
| platforms = [[Microsoft Windows]]<br />[[PlayStation 4]]<br />[[Xbox One]]<br />
| released = '''PlayStation 4, Xbox One'''{{Video game release|JP|February 4, 2016<ref name="ANNDelay">{{cite web|url=http://www.animenewsnetwork.com/news/2015-07-30/naruto-shippuden-ultimate-ninja-storm-4-slated-for-february-4-in-japan/.91074|title=Naruto Shippūden: Ultimate Ninja Storm 4 Slated for February 4 in Japan and Italy |publisher=[[Anime News Network]] |date=July 30, 2015 |accessdate=August 27, 2015}}</ref>|EU|February 5, 2016<ref name="TrueAchievements"/>|NA|February 9, 2016}}'''Microsoft Windows'''{{vgrelease|WW|February 5, 2016}}<br />
| genre = [[Fighting game|Fighting]], [[Action game|action]]<br />
| modes = [[Single-player video game|Single-player]], [[Multiplayer video games|multiplayer]]<br />
}}<br />
<br />
'''''Naruto Shippuden: Ultimate Ninja Storm 4''''', known in [[Japan]] as {{Nihongo|'''''Naruto Shippūden: Narutimate Storm 4'''''|NARUTO-ナルト- 疾風伝ナルティメットストーム 4|Naruto Shippūden: Narutimetto Sutōmu 4|lead=yes}},<ref name="ANN">{{cite web|url=http://www.animenewsnetwork.com/news/2014-12-11/naruto-shippuden-ultimate-ninja-storm-4-heads-to-ps3/.82048 |title=Naruto Shippuden: Ultimate Ninja Storm 4 Heads to PS4 |publisher=[[Anime News Network]] |date=February 11, 2014 |accessdate=December 12, 2014}}</ref> is a [[fighting game|fighting video game]] developed by [[CyberConnect2]] and published by [[Bandai Namco Entertainment]] for PlayStation 4, Xbox One, and Steam. It is the sequel to ''[[Naruto Shippuden: Ultimate Ninja Storm Revolution]]''. Comprehensively built for PlayStation 4 and Xbox One, a two year development schedule took place. It is the last installment in the ''Naruto: Ultimate Ninja '' series.<br />
<br />
==Gameplay==<br />
''Ultimate Ninja Storm 4'' features gameplay akin to that of previous games in the series, in which players battle each other in 3D arenas. A returning feature which was omissed since the original ''Ultimate Ninja Storm'' is the ability to Wall Run. Players will be able to dynamically take to battle to the sides of the arenas, and battle on the walls of each stage. A major change to the feature is the ability to have one character be on the wall, while the other stays on the field. Originally the second player was automatically moved to the wall, to keep the battle flowing and the system in check. The option to select one of three different fighting types has been removed, which was introduced in ''[[Naruto Shippuden: Ultimate Ninja Storm Revolution]]'', restoring the previous system of Ultimate Jutsu and Awakenings seen in the rest of the series. Another new feature is the ability to swap characters during battle, similar to games like ''[[Marvel vs. Capcom 3: Fate of Two Worlds|Marvel vs. Capcom 3]]''. Awakenings and ultimate jutsus from previous games also return, and can now be shared between the switchable characters, meaning players can build up their meter with one character, switch to the other and use said abilities with the other character. However, the characters will now all share the same life bar. Also new to the franchise is the ability to break weapons and armor, both in free battle and boss battles. To support this, they have added the ability to create elemental damage; For example, fire can burn away clothing. Players can, however, get rid of the fire by moving around quickly throughout the area or by getting hit with water attacks.<br />
<br />
==Plot==<br />
The plot of ''Ultimate Ninja Storm 4'' is played via a series of linear segments that branch off into separate stories, allowing the player to go back and replay certain events in later stages.<br />
<br />
The story begins where ''Ultimate Ninja Storm 3 Full Burst'' and ''Ultimate Ninja Storm Revolution'' left off, in the middle of the Fourth Shinobi World War fought by the Allied Shinobi Forces from the ninja villages against the mysterious Tobi and the legendary shinobi Madara Uchiha. Naruto destroys Tobi’s mask, and he is revealed to be Obito Uchiha, Kakashi Hatake's former teammate who was thought to have been killed in the last war. Obito reveals his actions stem from rage at Kakashi for letting Rin die. Madara joins the fight with Obito as Naruto (in his Kurama mode) and Killer Bee (in his Eight-Tails form) attempt to destroy the Gedo Statue, with Tailed Beast Balls. Their attacks are proven futile, as the statue resurrects itself into the gargantuan demon Ten Tails.<br />
<br />
The Allied Forces arrive to aid but endure a lengthy and destructive battle with the Ten Tails, wherein Neji Hyuga is killed while protecting Naruto and Hinata, and the Ten-Tails destroys HQ along with everyone there. In Konohagakure, Sasuke, along with Orochimaru and Team Taka, use the Reanimation Jutsu to resurrect the previous Hokage so he can learn what a ninja is. Hashirama (the First Hokage)'s reply prompts Sasuke decide to protect the village or else destroying it will make Itachi's sacrifice meaningless and he heads to the battlefield. When he arrives, he joins forces with Naruto and Sakura, and they each use the Summoning Jutsu to attack the Ten-Tails. Despite help from the previous Hokage, Obito seals the Ten Tails into himself, becoming its jinchuriki. This greatly increases his strength and powers, allowing him to summon the Shinju, the Divine Tree from which all chakra was created, and to annihilate much of the Shinobi Forces.<br />
<br />
Obito believes himself to be the new Sage of the Six Paths who will wipe out the world, but Naruto and Sasuke combine their powers with all of the shinobi to combat him. Throughout their battle, Obito is mentally lectured by Naruto and he begins having second thoughts about his ultimate purpose. With help from the other shinobi, Naruto and Sasuke extract the Tailed Beasts out of Obito, causing Obito to ponder his loss and admit defeat. To repent for his crimes, Obito prepares to use the Gedo Art of Rinne Rebirth to resurrect everyone he had killed, but is suddenly possessed by Black Zetsu who uses the technique to fully resurrect Madara instead. Acquiring another Rinnegan, Madara summons the Gedo Statue and absorbs the Tailed Beasts. Kurama is pulled out of Naruto and sealed into the statue, which mortally puts Naruto in near death. Sasuke steps in, but is also fatally wounded. Madara resurrects the Ten Tails, subsequently absorbing it and becoming the Ten Tails’ jinchuriki.<br />
<br />
Naruto and Sasuke are revived through the combined efforts of Obito (who manages to steal Kurama from Madara and reseal it back into Naruto) and Kabuto Yakushi (who escaped Itachi's Izanami), and meet an incorporeal Hagoromo Ōtsutsuki (the Sage of the Six Paths) who was the original Ten Tails’ jinchuriki. Hagoromo explains to Naruto and Sasuke that they are the reincarnations of his sons Indra and Asura, and only by uniting their powers can they seal away the Ten Tails. After asking them what their plans were after the war and hearing their answers, Hagoromo gives Naruto and Sasuke his powers to defeat Madara: Naruto gaining Sage of Six Paths Senjutsu and Sasuke's left eye evolving into a unique Six-Tomoe Rinnegan.<br />
<br />
After battling Naruto and Sasuke, and becoming almost overwhelmed by their new powers, Madara steals Kakashi's Sharingan and then Obito’s Rinnegan before absorbing the Shinju. This allows him to cast the Infinite Tsukuyomi onto the moon, placing nearly all of the Shinobi Forces under genjutsu and completing his Eye of the Moon Plan. Team 7 and Obito manage to escape the genjutsu and Madara declares he has saved the world before being betrayed and fatally wounded by Black Zetsu. Black Zetsu explains that it truly serves Kaguya Ōtsutsuki, the mother of Hagoromo and the progenitor of all chakra, and uses the Shinju in Madara to transform him into Kaguya. After explaining it was responsible for creating shinobi history as part of his goal of resurrecting Kaguya, Naruto, Sasuke, Sakura, Kakashi and Obito fight Kaguya across several dimensions. Obito sacrifices himself to save Naruto, Sasuke, and Kakashi from being killed by Kaguya, and reconciles with Kakashi before dying. Team 7 comes up with a strategy for sealing Kaguya, and with help from Sakura and Kakashi keeping Kaguya in place, Naruto and Sasuke seal Kaguya and Black Zetsu away in a massive Chibaku Tensei, a prison of stone which becomes a second moon.<br />
<br />
Freeing the Tailed Beasts from Kaguya, Naruto and the shinobi are victorious in the war. Hagoromo reappears and brings Team 7 and the tailed beasts back with the help of the previous Kage. Hashirama and Madara reconcile as they die and Naruto bids farewell to his father. Hagoromo instructs Naruto and Sasuke how to free the rest of the shinobi. But Sasuke didn't want to free them until he can kill the five Kage and explains his goal to create a world with no darkness by starting a revolution. Naruto stands against Sasuke and Sakura told Sasuke before he uses genjutsu on her. Naruto and Sasuke journey to the Valley of the End where they originally separated, in order to have one final confrontation. After draining each other’s power and burns their arms, Sasuke questions why Naruto refuses to sever ties to him and Naruto's reply about hurting without him makes Sasuke realize he has always been jealous of Naruto and they have an unbreakable bond. After his many years of walking down the dark path, Sasuke finally re-accepts Naruto's friendship and Team 7 reunites for good. Naruto and Sasuke free the shinobi from the Infinite Tsukuyomi and Sasuke credits Naruto for teaching him the meaning of a shinobi.<br />
<br />
In an epilogue, Sasuke is pardoned for his crimes by Kakashi, who had become the Sixth Hokage, and leaves Konohagakure on good terms with everyone (confirming he returns Sakura's feelings and accepts his former headband from Naruto). Years later, Naruto succeeds Kakashi as the Seventh Hokage and Sasuke continues with his traveling. As they continue shinobi history through the new generation, Naruto's son, Boruto, and Sasuke's daughter, Sarada, are growing up in the village.<br />
<br />
Players have access to several side stories throughout the game. One side story examines the youth of Kakashi and Obito, exploring Obito’s descent into evil. Another side story follows Sasuke and his group as they resurrect the former Hokage and Sasuke questions them as to the meaning of the village and shinobi.<br />
<br />
==Development==<br />
Hiroshi Matsuyama stated that he wanted the game's life to be as long as possible. In order to achieve this, he and his team made significant changes to the game's combat mechanics, which will include a new system of strategy developed exclusively for the game, as well as changes to the game's internal combat and damage system. The team has also taken on board the feedback given from the ''Naruto'' gaming community and has focused on the addition of more story based elements, rather than the traditional jump from fight to fight. The game is set to feature the largest number of fighters in the series history. The roster will include fighters from the entire ''Naruto'' universe, including characters from ''[[The Last: Naruto the Movie]]'' and ''[[Boruto: Naruto the Movie]]'', also making ''Storm 4'' the second game in the series after ''[[Naruto: Ultimate Ninja#Naruto: Ultimate Ninja 2|Naruto: Ultimate Ninja 2]]'' to feature characters from a Naruto movie, as well as the first such game to be released internationally, since the guest character [[Naruto the Movie: Ninja Clash in the Land of Snow|Doto Kazahana]] is only featured in the Japanese release of ''Ultimate Ninja 2''. The game was playable to the public for the first time at [[Gamescom]] 2015. In August 2015, it was announced that the game would be delayed until February 2016.<ref name="ANNDelay"/><ref name="TrueAchievements"/> The reason cited for the delay was to make the game more authentic and up-to-date.[[Kana-Boon]] sang the opening theme song with the title {{nihongo|"spiral"|スパイラル|spiral}}.<ref name="TrueAchievements">{{cite web|url=http://www.trueachievements.com/n21178/naruto-shippuden-uns4-delayed.htm |title=Naruto Shippuden: UNS4 Delayed |publisher=[[True Achievements]] |date=August 7, 2015 |accessdate=August 27, 2015}}</ref><br />
<br />
An expansion, titled ''Road to Boruto'', which features elements from ''Boruto: Naruto the Movie'', will be released on February 3, 2017. The release of this expansion will mark the end of the franchise, as publisher Bandai Namco Entertainment decided to retire the series.<ref>{{cite web|url=http://www.polygon.com/2016/9/14/12923926/naruto-ultimate-ninja-storm-4-road-to-boruto-expansion-final-game-bandai-namco-cyberconnect2-tgs|title=This is the final Naruto: Ultimate Ninja game|first=Philip|last=Kollar|work=[[Polygon (website)|Polygon]]|date=September 14, 2016|accessdate=September 15, 2016}}</ref><br />
<br />
==Reception==<br />
{{video game reviews<br />
| MC = 79/100<ref name="MCRev"/><br />
| Destruct = 8/10<ref name="DestructRev"/><br />
| GSpot = 7/10<ref name="GSpotRev"/><br />
| IGNUK = 5.5/10<ref name="IGNRev"/><br />
| rev1 = ''[[The Escapist (magazine)|The Escapist]]''<br />
| rev1Score = 9/10<ref name="EscapistRev"/><br />
| rev2 = ''[[Hardcore Gamer]]''<br />
| rev2Score = 3/5<ref name="HGRev"/><br />
}}<br />
On June 2016, TV Tokyo announced the title sold over 1.5 million copies worldwide.<ref>{{cite web|url=http://www.animenewsnetwork.com/interest/2016-06-10/tv-tokyo-most-profitable-anime-april-2015-to-march-2016/.102927|title= TV Tokyo's Most Profitable Anime: April 2015 to March 2016|publisher=Anime News Network|accessdate=June 10, 2016}}</ref> On September 12, 2016, [[Bandai Namco Entertainment]] announced that ''Storm 4'' had shipped 2 million units by that point.<ref>{{cite web|url=http://www.animenewsnetwork.com/news/2016-09-12/naruto-shippuden-ultimate-ninja-storm-4-road-to-boruto-update-detailed/.106350|title=Naruto Shippūden: Ultimate Ninja Storm 4's 'Road to Boruto' Update Detailed|date=September 12, 2016|accessdate=September 15, 2016|work=[[Anime News Network]]}}</ref><br />
<br />
It has a score of 79% on [[Metacritic]].<ref name="MCRev">{{cite web|title=Naruto Shippuden: Ultimate Ninja Storm 4 Metacritic listing|url=http://www.metacritic.com/game/playstation-4/naruto-shippuden-ultimate-ninja-storm-4|work=[[Metacritic]]|accessdate=27 June 2016}}</ref> [[GameSpot]] awarded it 7 out of 10, saying "Everything, from the visual touches to the character interactions in and out of battle to the voiceovers, is meant to make Naruto fans happy--though the fact that there’s a fun little fighting game underneath certainly helps."<ref name="GSpotRev">{{cite web|author=Kemps, Heidi|date= March 9, 2016|title=Naruto Shippuden: Ultimate Ninja Storm 4 Review|url=http://www.gamespot.com/reviews/naruto-shippuden-ultimate-ninja-storm-4-review/1900-6416376|work= [[GameSpot]]|accessdate= 27 June 2016}}</ref> [[Destructoid]] awarded it a score of 8 out of 10, saying "It's an extravagant, over-the-top spectacle where you get to watch teenage ninjas blow up chunks of the planet using magic attacks, and that's pretty cool."<ref name="DestructRev">{{cite web|author=Kate Dale, Laura|date=February 4, 2016|title=Review: Naruto Shippuden: Ultimate Ninja Storm 4|url=https://www.destructoid.com/review-naruto-shippuden-ultimate-ninja-storm-4-338210.phtml|work=[[Destructoid]]|accessdate=27 June 2016}}</ref> [[IGN]] awarded it a score of 5.5 out of 10, saying "Naruto Shippuden: Ultimate Ninja Storm's strong combat is countered hard by poor AI and connection problems."<ref name="IGNRev">{{cite web|date=9 February 2016|title=Naruto Shippuden: Ultimate Ninja Storm 4 Review|url=http://uk.ign.com/articles/2016/02/10/naruto-shippuden-ultimate-ninja-storm-review|work=[[IGN]]|accessdate=27 June 2016}}</ref> [[Hardcore Gamer]] awarded it 3 out of 5 and said "Ultimate Ninja Storm 4 has solid controls and an outstanding roster of characters, but suffers from too many flaws to allow the average gamer to drop $60 right now."<ref name="HGRev">{{cite web|author=King, Christopher|date= February 19, 2016|title=Review: Naruto Shippuden Ultimate Ninja Storm 4|url=http://www.hardcoregamer.com/2016/02/19/review-naruto-shippuden-ultimate-ninja-storm-4/193722|work=[[Hardcore Gamer]]|accessdate= 27 June 2016}}</ref> ''[[The Escapist (magazine)|The Escapist]]'' awarded it 9 out of 10, saying "Naruto Shippuden Ultimate Ninja Storm 4 is solid, both in gameplay and narrative. It has been a long time since a fighting game has been this fun for me."<ref name="EscapistRev">{{cite web|author=Russell, H.D.|date= 17 February 2016|title=Naruto Shippuden Ultimate Ninja Storm 4 Review - I Am A Ninja|url=http://www.escapistmagazine.com/articles/view/video-games/editorials/reviews/15460-Naruto-Shippuden-Ultimate-Ninja-Storm-4-Review#&gid=gallery_5721&pid=1|work=[[The Escapist (magazine)|The Escapist]] |accessdate=27 June 2016}}</ref><br />
<br />
==References==<br />
{{Reflist|30em}}<br />
<br />
==External links==<br />
*[http://naruto-game.bngames.net/ Official website]<br />
<br />
{{Naruto}}<br />
<br />
[[Category:2016 video games]]<br />
[[Category:3D fighting games]]<br />
[[Category:Bandai Namco games]]<br />
[[Category:CyberConnect2 games]]<br />
[[Category:Martial arts video games]]<br />
[[Category:Multiplayer and single-player video games]]<br />
[[Category:Naruto games|Ultimate Ninja]]<br />
[[Category:Ninja video games]]<br />
[[Category:PlayStation 4 games]]<br />
[[Category:Versus fighting games]]<br />
[[Category:Video game franchises]]<br />
[[Category:Video game sequels]]<br />
[[Category:Video games developed in Japan]]<br />
[[Category:Video games with cel-shaded animation]]<br />
[[Category:Windows games]]<br />
[[Category:Xbox One games]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=Newt&diff=679104901Newt2015-09-02T13:34:26Z<p>5.35.187.134: </p>
<hr />
<div>{{About|the aahghgikkjnimal}}<br />
{{Redirect|Eft||EFT (disambiguation){{!}}EFT}}<br />
{{Taxobox<br />
| name = Newt<br />
| image = Notophthalmus viridescensPCCA20040816-3983A.jpg<br />
| image_width = 200px<br />
| image_caption = [[Eastern newt]] (''Notophthalmus viridescens'')<br />
| regnum = [[Animal]]ia<br />
| phylum = [[Chordate|Chordata]]<br />
| subphylum = [[Vertebrata]]<br />
| superclassis = [[Tetrapoda]]<br />
| classis = [[Amphibia]]<br />
| subclassis = [[Lissamphibia]]<br />
| ordo = [[Caudata]]<br />
| familia = [[Salamandridae]]<br />
| subfamilia = '''Pleurodelinae'''<br />
}}<br />
A '''newt''' is a [[Aquatic animal|semiaquatic]]<ref>{{cite web|title=Newt|url=http://www.merriam-webster.com/dictionary/newt|website=Merriam-Webster Dictionary|publisher=Encylopaedia Britannica|accessdate=2015-06-24}}</ref> [[amphibian]] of the [[Family (biology)|family]] [[Salamandridae]], although not all aquatic [[salamander]]s are considered newts. Newts are classified as a part of the salamandrid subfamily '''Pleurodelinae''', and can be found in [[North America]], [[Europe]] and [[Asia]].<br />
<br />
Newts [[metamorphose]] through three distinct developmental life stages: aquatic [[larva]], terrestrial juvenile (called an '''eft'''<ref>{{cite journal|url=http://www.sciencedirect.com/science/article/pii/S0960982204010322 |title= Newts|date= |accessdate=2013-06-06 |doi=10.1016/j.cub.2004.12.049 |volume=15 |journal=Current Biology |pages=R42–R44}}</ref>), and adult. Adult newts have [[lizard]]-like bodies and may be either fully aquatic, living permanently in the water, or semiaquatic, living terrestrially, but returning to the water every year to breed.<br />
<br />
==Names==<br />
The [[Old English]] name of the animal was ''efte, efeta'' (of unknown origin), resulting in [[Middle English]] ''eft'';<br />
this word was transformed irregularly into ''euft'', ''evete'', or ''ewt(e)''. The initial 'n' was added from the indefinite article 'an' by [[English articles#Juncture loss|provection (juncture loss)]] by the early 15th century.<ref>[[Oxford English Dictionary]]; {{cite web|url=http://www.etymonline.com/index.php?term=eft|title=Online etymological dictionary|last=Anon|publisher=Douglas Harper|accessdate=9 October 2013}}</ref>p <br />
The form 'newt' appears to have arisen as a dialectal variant of ''eft'' in [[ ]] [[Staffordshire]], but entered Standard English by the Early Modern period (used by Shakespeare in ''[[Macbeth]]'' iv.1).<ref>The Gentleman's Magazine, and Historical Chronicle, Volume 47 (1777), [http://books.google.ch/books?id=9ntIAAAAYAAJ&pg=PA321 p. 321].</ref><br />
<br />
The regular form ''eft'', now only used for newly metamorphosed specimens, survived alongside ''newt'', especially in composition, the larva being called "water-eft" and the mature form "land-eft" well into the 18th century, but use of the simplex "eft" as equivalent to "water-eft" has been in use since at least the 17th century.<ref>[[John Wilkins]], ''An Essay Towards a Real Character, and a Philosophical Language'' (1668), [http://books.google.ch/books?id=Q85TAAAAcAAJ&pg=PA161#v=onepage&q&f=false p. 161].<br />
"the water-eft, or newt, is only the larva of the land-eft, as tadpoles are of frogs." Gilbert White, ''The Natural History and Antiquities of Selborne, in the County of Southampton'' (1789) [http://books.google.ch/books?id=yVsOAAAAQAAJ&pg=PA50 p. 50].<br />
"the ''salamandra aquatica'' of Hay, (the water-newt, or eft,)" Archibald Constable, ''Constable's miscellany of original and selected publications in the various departments of literature, science, & the arts'', Volume 45 (1829), [http://books.google.ch/books?id=vWdVAAAAYAAJ&pg=PA63 p. 63].<br />
</ref><br />
<br />
Dialectal English and Scots also has the word ''[[:wikt:ask#English|ask]]'' (also ''awsk, esk'' in Scots<ref><br />
John Jamieson, ''An etmological dictionary of the Scottish language'' (1818)</ref>) used for both newts and [[Lacertidae|wall lizards]], from [[Old English]] ''[[:wikt:aþexe|āþexe]]'', from [[Proto-Germanic]] ''[[:wikt:Appendix:Proto-Germanic/agiþahsijǭ|*agiþahsijǭ]]'', literally "lizard-badger" (compare German ''[[:wikt:Eidechse#German|Eidechse]]'' and ''[[:wikt:Echse#German|Echse]]''; ''*agi-'' is ultimately cognate with Greek ὄφις, from [[Proto-Indo-European language|Proto-Indo-European]] ''[[:wikt:Appendix:Proto-Indo-European/h₁ógʷʰis|*ogʷʰis]]''<ref>Pfeifer, ''Etymologisches Wörterbuch'' s.v. [http://www.dwds.de/?qu=Eidechse Eidechse].</ref>).<br />
Latin had the name ''stellio'' for a type of spotted newt, now used for species of the ''[[Stellagama]]'' genus. Ancient Greek had the name κορδύλος, presumably for the water newt (immature newt, eft).<ref>[http://www.perseus.tufts.edu/hopper/morph?l=kordu%2Flos&la=greek&can=kordu%2Flos0#lexicon Henry George Liddell, Robert Scott, A Greek-English Lexicon]</ref><br />
German has ''Molch'', from [[Middle High German]] ''mol'', ''olm'', like the English term of unknown etymology.<br />
<br />
Newts are also known as ''Tritones'' (viz., named for the mythological [[Triton (mythology)|Triton]]) in historical literature, and "triton" remains in use as common name in some Romance languages, in Greek, and in Russian. The systematic name ''Tritones'' was introduced alongside Pleurodelinae by [[Johann Jakob von Tschudi|Tschudi]] in 1838, based on the type genus named ''Triton'' by [[Josephus Nicolaus Laurenti|Laurenti]] in 1768. Laurenti's ''Triton'' was renamed to ''[[Triturus]]'' ("Triton-tail") by [[Constantine Samuel Rafinesque|Rafinesque]] in 1815.<ref><br />
Alain Dubois and Roger Bour, ''[http://www.iucn-tftsg.org/wp-content/uploads/file/Articles/Dubois_and_Bour_2010a.pdf The nomenclatural status of the nomina of amphibians and reptiles created by Garsault (1764), with a parsimonious solution to an old nomenclatural problem regarding the genus Bufo (Amphibia, Anura), comments on the taxonomy of this genus, and comments on some nomina created by Laurenti (1768)]'', Zootaxa 2447 (2010), 1–52. <br />
</ref> Tschudi's Pleurodelinae is based on the type genus ''[[Pleurodeles]]'' (ribbed newt) named by [[Karl Michahelles|Michahelles]] in 1830 (the name meaning "having prominent ribs", formed from πλευρά "ribs" and δῆλος "conspicuous").<br />
<br />
==Characteristics==<br />
[[File:Notophthalmus viridescensPCCA20040816-3983A.jpg|thumb|A [[red-spotted newt]] (eft stage) is showing bright [[aposematic]] colouration to warn predators of its highly toxic skin.<ref>{{cite web|url=http://www.theinformationarchives.com/Newt/ |title=Newt Information and Gallery |publisher=Theinformationarchives.com |date= |accessdate=2013-06-06}}</ref>]]<br />
{{see also|Sexual selection in amphibians}}<br />
Newts share many of the characteristics of their salamander kin, [[Caudata]], including semipermeable glandular skin, four equal-sized limbs, and a distinct tail. The newt's skin, however, is not as smooth as that of other salamanders.<ref name="Collins99">{{cite book | last1=Collins | first1=J. T. | last2=Conant | first2=R. | last3=Stebbins | first3=R. C. | last4=Peterson | first4=R. T. | title=Peterson First Guide to Reptiles and Amphibians | publisher=Houghton Mifflin Harcourt | year=1999 | isbn=0-395-97195-0 | url=http://books.google.ca/books?id=epHJE6NL3j8C&printsec=frontcover&dq=peterson+reptiles+and+amphibians&hl=en&ei=wp86T6ytNLCMigKeip2TDA&sa=X&oi=book_result&ct=book-thumbnail&resnum=2&ved=0CEAQ6wEwAQ#v=onepage&q=peterson%20reptiles%20and%20amphibians&f=false}}</ref> Aquatic larvae have true teeth on both upper and lower jaws, and external gills.<ref>{{cite web|last=Heying |first=Heather |url=http://animaldiversity.ummz.umich.edu/site/accounts/information/Caudata.html |title=Adw: Caudata: Information |publisher=Animaldiversity.ummz.umich.edu |date= |accessdate=2013-06-06}}</ref> They have the ability to [[Regeneration (biology)|regenerate]] limbs, eyes, spinal cords, hearts, intestines, and upper and lower jaws. The [[Japanese Fire Belly Newt|Japanese fire belly newt]] can regenerate its eye lens 18 times over a period of 16 years and retain its structural and functional properties.<ref>{{cite web|url=http://www.cosmosmagazine.com/news/4514/newts-re-grow-eye-lens-18-times-over |title=Newts re-grow eye lens 18 times over |publisher=COSMOS magazine |date=2011-07-13 |accessdate=2013-06-06}}</ref> The [[cell (biology)|cell]]s at the site of the injury have the ability to un[[Cellular differentiation|differentiate]], reproduce rapidly, and differentiate again to create a new limb or organ. One hypothesis is that the undifferentiated cells are related to [[tumour]] cells since chemicals which produce tumours in other animals will produce additional limbs in newts.<ref>[http://www.bioscience.utah.edu/mb/mbFaculty/odelberg/odelberg.html ]{{dead link|date=June 2013}}</ref><br />
<br />
===Development===<br />
[[File:Smooth Newt larva (aka).jpg|thumb|right|[[Alpine newt]] larva part-way through metamorphosis]]<br />
The main breeding season for newts is (in the Northern Hemisphere) in June and July. After courtship rituals of varying complexity, which take place in ponds or slow-moving streams, the male newt transfers a [[spermatophore]] which is taken up by the female. Fertilized eggs are laid singly and are usually attached to aquatic plants.{{Citation needed|date=March 2012}} This distinguishes them from the free-floating eggs of [[frog]]s or [[toad]]s, that are laid in clumps or in strings. Plant leaves are usually folded over and attached to the eggs to protect them. The [[tadpole]]s, which resemble fish [[Spawn (biology)#Fry|fry]] but are distinguished by their feathery external gills, hatch out in about three weeks. After hatching, they eat algae, small invertebrates, or other tadpoles.{{Citation needed|date=March 2012}}<br />
<br />
During the next few months, the tadpoles undergo [[Metamorphosis (biology)|metamorphosis]], during which they develop legs, and the gills are absorbed and replaced by air-breathing lungs.<ref>{{cite web|url=http://www.scienceclarified.com/Al-As/Amphibians.html |title=Amphibians - body, used, water, process, Earth, life, characteristics, form, animals, oxygen, air, plant, change, History, Characteristics, Life cycle, Three major groupings |publisher=Scienceclarified.com |date=2009-10-13 |accessdate=2013-06-06}}</ref> Some species, such as the North American newts, also become more brightly coloured during this phase. Once fully metamorphosised, they leave the water and live a terrestrial life, when they are known as "efts".<ref>{{cite web|url=http://lnr.cambridge.gov.uk/news/article.asp?ItemID=285 |title=Cambridge City Council: Local Nature Reserves |publisher=Lnr.cambridge.gov.uk |date=2005-07-25 |accessdate=2013-06-06}}</ref> Only when the eft reaches adulthood will the North American species return to live in water, rarely venturing back onto the land. Conversely, most European species live their adult lives on land and only visit water to breed.<ref name="autogenerated1970">{{cite web|url=http://www.bbc.co.uk/nature/wildfacts/factfiles/478.shtml |title=BBC Nature - Great crested newt videos, news and facts |publisher=Bbc.co.uk |date=|accessdate=2013-06-06}}</ref><br />
<br />
===Toxicity===<br />
[[File:Taricha torosa, Napa County, CA.jpg|thumb|''[[Taricha]]'' newts are known for their toxicity]]<br />
Many newts produce [[toxin]]s in their skin secretions as a defence mechanism against predators. ''Taricha'' newts of western North America are particularly toxic. The [[rough-skinned newt]] ''Taricha granulosa'' of the Pacific Northwest produces more than enough [[tetrodotoxin]] to kill an adult human, and some [[Indigenous peoples of the Americas|Native American]]s of the Pacific Northwest used the toxin to poison their enemies.<ref name="caudata"/> However, the toxins are only dangerous if ingested, and the newts can easily and safely live in the same ponds or streams as frogs and other amphibians, or be safely kept as pets. The only predators of ''Taricha'' newts are [[garter snakes]], some having developed a resistance to the poison.<br />
Most newts can be safely handled, provided the toxins they produce are not ingested or allowed to come in contact with [[mucous membrane]]s or breaks in the skin.<ref name="caudata">{{cite web|url=http://www.caudata.org/cc/articles/toxin2.shtml |title=Caudata Culture Articles - Newt Toxins |publisher=Caudata.org |date= |accessdate=2013-06-06}}</ref> After handling, proper hand-washing techniques should be followed due to the risk from the toxins they produce and bacteria they carry, such as ''[[Salmonella]]''.<ref>[http://web.archive.org/web/20040618015311/http://www.metrokc.gov/health/prevcont/salmonellosis-reptiles.htm Salmonellosis - Reptiles and Amphibians]</ref><ref>{{cite web|url=http://www.cdc.gov/mmwr/preview/mmwrhtml/mm5249a3.htm |title=CDC MMWR: Reptile-Associated Salmonellosis: Selected States, 1998-2002 |publisher=Cdc.gov |date=2003-12-12 |accessdate=2013-06-06}}</ref> It is, however, illegal to handle or disturb [[great crested newt]]s in the UK without a licence.<ref name="bbc.co.uk Factfile 479">{{cite web|url=http://www.bbc.co.uk/nature/wildfacts/factfiles/479.shtml |title=Science & Nature - Wildfacts - Smooth newt, common newt |publisher=BBC |date=2012-04-27 |accessdate=2013-06-06}}</ref><br />
<br />
==As bioindicators==<br />
Newts, as with salamanders in general, serve as [[bioindicators]] because of their thin, sensitive skin and evidence of their presence (or absence) can serve as an indicator of the health of the environment. Most species are highly sensitive to subtle changes in the [[pH]] level of the streams and lakes where they live. Because their skin is permeable to water, they absorb oxygen and other substances they need through their skin. Scientists study the stability of the amphibian population when studying the water quality of a particular body of water.{{Citation needed|date=March 2012}}<br />
<br />
==As pets==<br />
[[Chinese warty newt]]s, [[Chinese fire belly newt]]s, [[eastern newt]]s, [[paddletail newt]]s, [[Emperor newt]]s, [[Spanish ribbed newt]]s ([[leucistic]] genes exist), [[Red-tailed knobby newt]]s are some commonly seen newts in the pet trade. Some newts rarely seen in the pet trade are [[marbled newt]]s, [[Kaiser's spotted newt]]s and [[Yellow-spotted newt]]s.<br />
<br />
==Systematics==<br />
About two-thirds of all species of the family Salamandridae, comprising these genera, are commonly called "newts":<br />
{{div col|colwidth=15em}}<br />
* ''[[Calotriton]]'' Spanish brook newts<br />
* ''[[Cynops]]'' firebelly newts<br />
* ''[[Echinotriton]]'' spiny newts<br />
* ''[[Ichthyosaura]]'' alpine newts<br />
* ''[[Lissotriton]]'' small-bodied newts<br />
* ''[[Neurergus]]'' spotted newts<br />
* ''[[Notophthalmus]]'' eastern newts<br />
* ''[[Ommatotriton]]'' banded newts<br />
* ''[[Pachytriton]]'' paddle-tail newts<br />
* ''[[Paramesotriton]]'' warty newts<br />
* ''[[Pleurodeles]]'' ribbed newts<br />
* ''[[Taricha]]'' Pacific newts<br />
* ''[[Triturus]]'' crested newts<br />
* ''[[Tylototriton]]'' crocodile newts<br />
{{div col end}}<br />
<br />
The term "newt" has traditionally been seen as an exclusively functional term for salamanders living in water, and not a [[Biological classification|systematic unit]]. The relationship between the genera has been uncertain, although they have been suggested to constitute a [[clade|natural systematic unit]] and newer molecular analyses tend to support this position.<ref>{{cite journal | last1 = Titus | first1 = T. A. | last2 = Larson | first2 = A. | year = 1995 | title = A molecular phylogenetic perspective on the evolutionary radiation of the salamander family Salamandridae | url = | journal = Systematic Biology | volume = 44 | issue = | pages = 125–151 | doi=10.1093/sysbio/44.2.125}}</ref><ref name=Steinfartz>Steinfartz, S., S. Vicario, J. W. Arntzen, & A. Caccone (2006): A Bayesian approach on molecules and behavior: reconsidering phylogenetic and evolutionary patterns of the Salamandridae with emphasis on ''Triturus'' newts. ''Journal of Experimental Zoology'' Part B: Molecular and Developmental Evolution</ref><ref name=autogenerated1>{{cite journal | last1 = Weisrock | first1 = D. W. | last2 = Papenfuss | first2 = T. J. | last3 = Macey | first3 = J. R. | last4 = Litvinchuk | first4 = S. N. | last5 = Polymeni | first5 = R. | last6 = Ugurtas | first6 = I. H. | last7 = Zhao | first7 = E. | last8 = Jowkar | first8 = H. | last9 = Larson | first9 = A. | year = 2006 | title = A molecular assessment of phylogenetic relationships and lineage accumulation rates within the family Salamandridae (Amphibia, Caudata) | url = | journal = Molecular Phylogenetics and Evolutio | volume = 41 | issue = | pages = 368–383 | doi=10.1016/j.ympev.2006.05.008}}</ref><br />
Newts only appear in one subfamily of salamanders, the Pleurodelinae (of the family [[Salamandridae]]),<ref>Larson, A, Wake, D., & Devitt, T. (2007): Salamandridae, Newts and "True Salamanders". [[Tree of Life]] on-line project [http://tolweb.org/Salamandridae]</ref><br />
however, ''[[Salamandrina]]'' and ''[[Euproctus]]'', which are sometimes listed as Pleurodelinae, are not newts. Whether these are [[Basal (phylogenetics)|basal]] to the subfamily (and thus the sister group of the newt group) or [[Synapomorphy|derived]], making the newts an [[evolutionary grade]] (an "incomplete" systematic unit, where not all branches of the family tree belong to the group) is currently not known.<ref name=autogenerated1 /><ref>Montori, A. and P. Herrero (2004): Caudata. In ''Amphibia, Lissamphibia''. García-París, M., Montori, A., and P. Herrero. Fauna Ibérica, vol. 24. Ramos M. A. et al. (eds.). Museo Nacional de Ciencias Naturales. CSIC. Madrid: pp 43-275</ref><br />
<br />
==Distribution==<br />
The three common European genera are the [[crested newt]]s (''[[Triturus]]'' spp.), the [[smooth newt|smooth]] and [[palmate newt]]s (''[[Lissotriton]]'' spp.), and the [[banded newt]]s (''[[Ommatotriton]]'' spp.). Other species present in Europe are the [[Iberian ribbed newt]] (''Plurodeles waltl''), which is the largest of the European newts,<ref>{{cite web|url=http://www.calacademy.org/science_now/archive/wild_lives/ribbed_newt.php |title=A Newt Tale |publisher=Calacademy.org |date= |accessdate=2013-06-06}}</ref> the Pyrenean brook newt (''[[Calotriton]]'' sp.); the European brook newt (''[[Euproctus]]'' spp.) and the [[alpine newt]] (''Ichtyosaura alpestris'').<ref name=Steinfartz/><ref>Carranza, S. & Amat, F. (2005)<br />
Taxonomy, biogeography and evolution of Euproctus (Amphibia: Salamandridae), with the resurrection of the genus Calotriton and the description of a new endemic species from the Iberian Peninsula<br />
Zoological Journal of the Linnean Society 145 (4), 555–582.</ref><br />
<br />
In North America, the eastern newts (''[[Notophthalmus]]'' spp.) include the [[red-spotted newt]] (''Notophthalmus viridescens''), which is the most abundant species, but it is limited to the area east of the [[Rocky Mountains]]. The three species of coastal or western newts are the [[red-bellied newt]], the [[California newt]], and the [[rough-skinned newt]], all of which belong to the genus ''[[Taricha]]'', which is confined to the area west of the Rockies.{{citation needed|date=December 2007}}<br />
<br />
In Southeast Asia and Japan, species commonly encountered in the pet trade include the [[fire belly newts]] (''[[Cynops]]'' spp.), the paddle-tail newts (''[[Pachytriton]]'' spp.), the crocodile newts (''[[Tylototriton]]'' spp.), and the warty newts (''[[Paramesotriton]]'' spp.). In the Middle East are the spotted newts (''[[Neurergus]]'' spp.).<ref name=livworld>{{cite web|url=http://www.livingunderworld.org/caudata/database/salamandridae/ |title=Welcome livingunderworld.org - Hostmonster.com |publisher=Livingunderworld.org |date= |accessdate=2013-06-06}}</ref><br />
<br />
==Conservation status==<br />
The [[Yunnan lake newt]] is considered extinct.<ref name=IUCN>{{IUCN| id = 59445| taxon = ''Cynops wolterstorffi''| assessors = Yang Datong, Michael Wai Neng Lau| assessment_year = 2004| version = 2012.2| accessdate = 1 January 2013}}</ref><br />
<br />
===Europe===<br />
Some newt populations in Europe have decreased because of pollution or destruction of their breeding sites and terrestrial habitats, and countries such as the UK have taken steps to halt their declines.<ref>{{cite web|url=http://fresc.usgs.gov/research/StudyDetail.asp?Study_ID=239 |title=USGS Amphibian Research Monitoring Initiative (Pacific Northwest Region) |publisher=Fresc.usgs.gov |date=2013-01-30 |accessdate=2013-06-06}}</ref><ref>[http://www.ukbap.org.uk/UKPlans.aspx?ID=619 UK Biodiversity Action Plan]{{dead link|date=June 2013}}</ref> In the UK, they are protected under the [[Wildlife and Countryside Act 1981]] and the Habitat Regulations Act 1994. It is illegal to catch, possess, or handle [[Great Crested Newt|great crested newts]] without a licence, or to cause them harm or death, or to disturb their habitat in any way. The [[IUCN Red List]] categorises the species as ‘lower risk’<ref name="autogenerated1970"/><ref name="bbc.co.uk Factfile 479"/><br />
Although the other UK species, the [[smooth newt]] and [[palmate newt]] are not listed, the sale of either species is prohibited under the Wildlife and Countryside Act, 1981.<ref>{{cite web|url=http://www.arkive.org/species/ARK/amphibians/Triturus_vulgaris/more_info.html |title=Smooth newt videos, photos and facts - Triturus vulgaris |publisher=ARKive |date= |accessdate=2013-06-06}}</ref><br />
<br />
In Europe, nine newts are listed as "strictly protected fauna species" under appendix II of the [[Convention on the Conservation of European Wildlife and Natural Habitats]]:<ref>{{cite web|url=http://conventions.coe.int/Treaty/FR/Treaties/Word/104-2.doc |title=Annexe II: Strictly protected fauna species |date= |accessdate=2013-06-06}}</ref><br />
<br />
{{div col|colwidth=15em}}<br />
*''[[Euproctus asper]]''<br />
*''[[Euproctus montanus]]''<br />
*''[[Euproctus platycephalus]]''<br />
*''[[Triturus carnifex]]''<br />
*''[[Triturus cristatus]]''<br />
*''[[Triturus dobrogicus]]''<br />
*''[[Triturus italicus]]''<br />
*''[[Triturus karelinii]]''<br />
*''[[Triturus montandoni]]''<br />
{{div col end}}<br />
<br />
The remaining European species are listed as "protected fauna species" under appendix III.<ref>{{cite web|url=http://conventions.coe.int/Treaty/FR/Treaties/Word/104-3.doc |title=Annexe III: Protected fauna species |date= |accessdate=2013-06-06}}</ref><br />
<br />
==References==<br />
{{reflist|30em}}<br />
<br />
==External links==<br />
{{wiktionary|newt}}<br />
{{wiktionary|newt|eft}}<br />
*{{wikispecies-inline|Pleurodelinae}}<br />
<br />
[[Category:Newts|*]]<br />
[[Category:Amphibians]]<br />
<br />
[[bg:Тритон]]<br />
[[es:Salamandra]]<br />
[[it:Tritone (anfibi)]]<br />
[[ja:イモリ]]<br />
[[nl:Pleurodelinae]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=List_of_contemporary_art_museums&diff=575288076List of contemporary art museums2013-10-01T13:34:08Z<p>5.35.187.134: /* Brazil */</p>
<hr />
<div>'''Contemporary art museums''' around the world specialize in collecting and exhibiting [[contemporary art]]. The following is an alphabetical listing of major contemporary art [[museum]]s, divided by country. A number of such museums are called the Museum of Contemporary Art. For smaller galleries, such as private and artist-run galleries, see [[International Contemporary Art Scenes]].<br />
{{TOCright}}<br />
<br />
== Australiaerewrr ==<br />
* [[Queensland Gallery of Modern Art]]<br />
* [[Museum of Contemporary Art, Sydney]]<br />
* [[Australian Centre for Contemporary Art]]<br />
<br />
== xasddsdafds ==<br />
*[[Inhotim]]<br />
*[[Museum of Contemporary Art, University of São Paulo]]<br />
*[[Niterói Contemporary Art Museum]]<br />
<br />
== Canada ==<br />
* [[Art Gallery of Ontario]]<br />
* [[Contemporary Art Gallery (Vancouver)]]<br />
* [[Museum of Contemporary Canadian Art]]<br />
* [[Vancouver Art Gallery]]<br />
* [[Musée d'art contemporain de Montréal]]<br />
<br />
== China ==<br />
* [[Museum of Contemporary Art, Asia]], Hong Kong<br />
* [[Museum of Contemporary Art Shanghai]]<br />
* [[Nanjing 4Cube Museum of Contemporary Art]]<br />
* [[Power Station of Art]], Shanghai<br />
* [[Ullens Center for Contemporary Art]], Beijing<br />
<br />
== Croatia ==<br />
* [[Museum of Contemporary Art, Zagreb]]<br />
<br />
== France ==<br />
* [[Lille Métropole Museum of Modern, Contemporary and Outsider Art]], [[Villeneuve d'Ascq]]<br />
* [[Centre Georges Pompidou]], [[Paris]]<br />
* [http://palaisdetokyo.com Palais de Tokyo], [[Paris]]<br />
* [http://www.macval.fr MACVAL], [[Vitry-sur-Seine]]<br />
* [[Centre Pompidou-Metz]], [[Metz]]<br />
* [http://www.capc-bordeaux.fr/ CAPC], [[Bordeaux]]<br />
* [http://www.magasin-cnac.org/ CNAC Le Magasin], [[Grenoble]]<br />
* [http://www.villa-arson.org/ Villa Arson], [[Nice]]<br />
* [http://www.collectionlambert.fr Collection Lambert], [[Avignon]]<br />
* [http://www.cracalsace.com CRAC Alsace], [[Altkirch]]<br />
<br />
== Germany ==<br />
* [[Deichtorhallen]], [[Hamburg]]<br />
<br />
== Greece ==<br />
* [[National Museum of Contemporary Art, Athens|National museum of Contemporary Art]], [[Athens]]<br />
* [[ART ATHINA|ART-ATHINA]], Athens<br />
* [[State Museum of Contemporary Arts]], [[Thessaloniki]]<br />
* [[Macedonian Museum of Contemporary Art]], Thessaloniki<br />
<br />
== Italy ==<br />
* [[Peggy Guggenheim Collection]], [[Venice]]<br />
* [[Museum of Contemporary Art of Rome]], [[Rome]]<br />
* [[MAXXI – National Museum of the 21st Century Arts]], [[Rome]]<br />
* [[Galleria Nazionale d'Arte Moderna]], [[Rome]]<br />
* [[Galleria Comunale d'Arte Moderna, Rome]], [[Rome]]<br />
* [[Padiglione d'Arte Contemporanea]], [[Milan]]<br />
* [[Triennale]], [[Milan]]<br />
* [[Museo del Novecento]], [[Milan]]<br />
* [[Museum of Modern and Contemporary Art of Trento and Rovereto]], [[Trento]]<br />
* [[Castello di Rivoli - Museum of Contemporary Art]], [[Turin]]<br />
* [[Galleria Civica d'Arte Moderna e Contemporanea]], [[Turin]]<br />
* [[Centro per l'Arte Contemporanea Luigi Pecci]], [[Prato]]<br />
* [[Museum of Contemporary Art Villa Panza]], [[Varese]]<br />
* [[Palazzo Grassi / Punta della Dogana (Pinault Collection)]], [[Venice]]<br />
* [[Palazzo delle Arti]], [[Naples]]<br />
* [[Museo d'Arte Contemporanea Donnaregina (MADRE)]], [[Naples]]<br />
* [[Museo del Novecento, Castel Sant'Elmo]], [[Naples]]<br />
* [[CCC Strozzina - Centre for Contemporary Culture]], [[Florence]]<br />
* [[Museo Marino Marini]], [[Florence]]<br />
* [[Raccolta d'Arte Contemporanea Alberto della Ragione]], [[Florence]]<br />
* [[Galleria d'Arte Moderna e Contemporanea]], [[Bergamo]]<br />
* [[Kunst Merano Arte]], [[Merano]]<br />
* [[Museo d'Arte Gallarate MAGA]], [[Gallarate]]<br />
* [[Museo d'Arte Contemporanea Villa Croce]], [[Genova]]<br />
* [[Museion (Museo d'Arte Contemporanea)]], [[Bolzano]]<br />
* [[Centro Sperimentale per le Arti Contemporanee Cesac]], [[Cuneo]]<br />
* [[Centro Arti Visive Pescheria]], [[Pesaro]]<br />
* [[MAN - Museo d'Arte di Nuoro]], [[Nuoro]]<br />
* [[GCAC - Galleria Comunale d'Arte Contemporanea]], [[Arezzo]]<br />
* [[MACS - Museo d'Arte Contemporanea]], [[Catania]]<br />
* [[GAMC - Gallerie d'Arte Moderna e Contemporanea]], [[Ferrara]]<br />
* [[MUDAC – Museo di Arte Contemporanea]], [[Floridia]]<br />
* [[Museo d'Arte Contemporanea]], [[Gibellina]]<br />
* [[Lucca Center of Contemporary Art]], [[Lucca]]<br />
* [[RISO - Museo d'Arte Contemporanea della Sicilia]], [[Palermo]]<br />
* [[Museo d'Arte Contemporanea e del Novecento]], [[Monsummano]]<br />
* [[Museo Sperimentale d'Arte Contemporanea]], [[L'Aquila]]<br />
* [[CAMeC - Centro d'Arte Moderna e Contemporanea]], [[La Spezia]]<br />
* [[Museo d'Arte Contemporanea]], [[Lissone]]<br />
* [[MACA - Museo d'Arte Contemporanea Acri]], [[Acri]]<br />
* [[Galleria d'Arte Contemporanea]], [[Assisi]]<br />
* [[MdAO - Museo d'Arte]], [[Avellino]]<br />
* [[Museo d'Arte Contemporanea Sannio]], [[Benevento]]<br />
* [[Museo d'Arte Contemporanea]], [[Fonte Nuova]]<br />
* [[Stazione dell'Arte]], [[Ulassai]]<br />
<br />
== Japan ==<br />
* [[Museum of Contemporary Art, Tokyo]]<br />
<br />
== Liechtenstein ==<br />
* [[Kunstmuseum Liechtenstein]], Vaduz<br />
<br />
== The Middle East ==<br />
* [[Tehran Museum of Contemporary Art]]<br />
* [[Jordan National Gallery of Fine Arts]]<br />
<br />
== Netherlands ==<br />
* [[Stedelijk Museum]], [[Amsterdam]]<br />
* [[Van Gogh Museum]], Amsterdam<br />
* [[Cobra Museum]], [[Amstelveen]]<br />
* [[Gemeentemuseum Den Haag]], [[Den Haag]]<br />
* [[Van Abbemuseum]], [[Eindhoven]]<br />
* [[Groninger Museum]], [[Groningen]]<br />
* [[Stedelijk Museum 's-Hertogenbosch]], [['s-Hertogenbosch]]<br />
* [[Singer Laren]], [[Laren]]<br />
* [[Bonnefantenmuseum]], [[Maastricht]]<br />
* [[Kröller-Müller Museum]], [[Otterloo]]<br />
* [[Kunsthal]], [[Rotterdam]]<br />
* [[Museum Boijmans Van Beuningen]], Rotterdam<br />
* [[Centraal Museum]], [[Utrecht]]<br />
<br />
== Norway ==<br />
* [[Astrup Fearnley Museum of Modern Art]], [[Oslo]]<br />
<br />
==Poland==<br />
* [[Museum of Modern Art, Warsaw]], [[Warsaw]], [[Poland]]<br />
* [[Art Museum]], [[Łódź]], [[Poland]] - one of the oldest museums of modern art in the world, opened in 1931 [http://msl.org.pl/en/strony/_history/ Muzeum Sztuki]<br />
<br />
== Portugal ==<br />
* [[Serralves Foundation]]<br />
<br />
* [[Museu do Chiado]]<br />
<br />
* CBB - Centro Cultural de Belém <br />
* MUSEU JOSÉ MALHOA<br />
* MUSEU NACIONAL DE ARTE CONTEMPORÂNEAMUSEU DA FUNDAÇÃO ARPAD SZENES-VIEIRA DA SILVAMUSEU COLECÇÃO BERARDO <br />
* MUSEU DE ARTE CONTEMPORÂNEA DE ELVAS<br />
* MUDE - MUSEU DO DESIGN E DA MODA<br />
* CENTRO DE ARTE CONTEMPORÂNEA GRAÇA MORAIS<br />
sdffgsdf ==<br />
* [[ARKA Gallery (Saint Petersburg)|ARKA Gallery]], [[Saint Petersburg]]<br />
* [[ART4.RU Contemporary Art Museum]], [[Moscow]]<br />
* [[Bakhmetevsky Bus Garage|The Garage]], [[Moscow]]<br />
* [[Erarta]], [[Saint Petersburg]]<br />
* [[Museum of Avant-Garde Mastery|MAGMA]], [[Moscow]]<br />
* [[Moscow House of Photography]], [[Moscow]]<br />
* [[Moscow Museum of Modern Art]], [[Moscow]]<br />
* [[Multimedia Art Museum, Moscow]]<br />
* [[National Centre for Contemporary Arts]], [[Moscow]]<br />
* [[Tretyakov Gallery|New Tretyakov Gallery]], [[Moscow]]<br />
<br />
== Serbia ==<br />
* [[Museum of Contemporary Art (Belgrade)|Museum of Contemporary Art, Belgrade]]<br />
<br />
== Singapore ==<br />
* [[Singapore Art Museum]]<br />
<br />
== Spain ==<br />
* [http://www.meam.es European Museum of Modern Art - MEAM]<br />
* [[Barcelona Museum of Contemporary Art]]<br />
* CAAC, [[Seville]]<br />
* [[Guggenheim Museum Bilbao]], [[Bilbao]]<br />
* MUSAC, [[León, Spain|León]]<br />
* [[Museo de Escultura al Aire Libre de Alcalá de Henares]]<br />
* [[Museo Nacional Centro de Arte Reina Sofía|Museo Nacional Centro de Arte Reina Sofía, Madrid]]<br />
<br />
== Sweden ==<br />
* [[Moderna Museet]]<br />
<br />
== Switzerland ==<br />
* [[Kunstmuseum Basel]]<br />
<br />
== Thailand ==<br />
* [[Bangkok Art and Culture Centre]]<br />
<br />
==Turkey==<br />
* Istanbul Museum of Modern Art [http://www.istanbulmodern.org/en (Istanbul Modern)]<br />
* iS.CaM. [[Istanbul Contemporary Art Museum]]<br />
* SALT [[SALT (institution)]]<br />
<br />
== United Kingdom ==<br />
* [[Institute of Contemporary Arts]]<br />
* [[Saatchi Gallery]]<br />
* [[Tate (gallery)|Tate]] (formerly known as the [[Tate Gallery]])<br />
* [[The Baltic]] (also known as the Baltic Flour Mill)<br />
<br />
== United States ==<br />
<br />
* [[The Aldrich Contemporary Art Museum]], Ridgefield, Connecticut<br />
* [[Artspace]], New Haven, Connecticut<br />
* [[Atlanta Contemporary Art Center]], Atlanta, Georgia<br />
* Boulder Museum of Contemporary Art, Boulder, Colorado<br />
* [[Blue Star Contemporary Art Museum]], San Antonio, Texas<br />
* [[Contemporary Art Museum St. Louis]], St. Louis, Missouri<br />
* [[Contemporary Arts Center]], Cincinnati, Ohio<br />
* [[Contemporary Arts Museum Houston]], Houston, Texas<br />
* [[Contemporary Museum Baltimore]], Baltimore, Maryland<br />
* [[The Contemporary Museum, Honolulu]], Honolulu, Hawaii<br />
* [[Delaware Center for the Contemporary Arts]], Wilmington, Delaware <br />
* [[Henry Art Gallery]], Seattle, Washington<br />
* [[Indianapolis Museum of Contemporary Art]], Indianapolis, Indiana<br />
* [[Institute of Contemporary Art, Boston]], Boston, Massachusetts<br />
* [[Institute of Contemporary Art, Philadelphia]], Philadelphia, Pennsylvania<br />
* [[Kemper Museum of Contemporary Art]], Kansas City, Missouri<br />
* [[Madison Museum of Contemporary Art]], Madison, Wisconsin <br />
* [[Mattress Factory]], Pittsburgh, Pennsylvania<br />
* [[Massachusetts Museum of Contemporary Art]], North Adams, Massachusetts<br />
* [[Modern Art Museum of Fort Worth]], Fort Worth, Texas<br />
* [[Museum of Contemporary Art, Chicago]], Chicago, Illinois<br />
* [[Museum of Contemporary Art, Cleveland]], Cleveland, Ohio<br />
* [[Museum of Contemporary Art Detroit]], Detroit, Michigan<br />
* [[Museum of Contemporary Art of Georgia]], Atlanta, Georgia<br />
* [[Museum of Contemporary Art Jacksonville]], Jacksonville, Florida<br />
* [[Museum of Contemporary Art, Los Angeles]], Los Angeles, California<br />
* [[Museum of Contemporary Art, North Miami]], Miami, Florida<br />
* [[Museum of Contemporary Art, San Diego]], San Diego, California<br />
* [[Museum of Contemporary Art, Tucson]], Tucson, Arizona<br />
* [[New Museum of Contemporary Art]], New York City, New York<br />
* [[Orange County Museum of Art]], Newport Beach, California<br />
* [[P.S. 1 Contemporary Art Center]], New York City, New York<br />
* [[The Renaissance Society]], Chicago, Illinois<br />
* [[Rose Art Museum]], Waltham, Massachusetts<br />
* [[San Francisco Museum of Modern Art]], San Francisco, California<br />
* [[Scottsdale Museum of Contemporary Art]], Scottsdale, Arizona<br />
* [[SITE Santa Fe]], Santa Fe, New Mexico<br />
* [[Southeastern Center for Contemporary Art]], Winston-Salem, North Carolina<br />
* [[Station Museum of Contemporary Art]], Houston, Texas<br />
*[[The Contemporary Austin]], Austin, Texas<br />
* [[Virginia Museum of Contemporary Art]], Virginia Beach, Virginia<br />
* [[Walker Art Center]], Minneapolis, Minnesota<br />
* [[Whitney Museum of American Art]], New York City, New York<br />
<br />
== Further reading ==<br />
* [[Jesus Pedro Lorente]], ''Cathedrals of urban modernity: the first museums of contemporary art, 1800-1930'', Ashgate (1998)<br />
* [[Jesus Pedro Lorente]], ''The Museums of Contemporary Art: Notion and Development'', Ashgate (2011)<br />
* [[Bruce Altshuler]], ''[http://books.google.fr/books?id=UOUPw0wM5j8C&lpg=PP1&hl=fr&pg=PP1#v=onepage&q&f=false Collecting the new: museums and contemporary art]'', Princeton University Press (2007)<br />
<br />
==See also==<br />
* [[Museum of Contemporary Art (disambiguation)]]<br />
<br />
[[Category:Contemporary art| Museums]]<br />
[[Category:Contemporary art galleries| Museums]]<br />
[[Category:Modern art museums| ]]<br />
[[Category:Postmodern art| Museums]]<br />
[[Category:Postmodernism]]<br />
[[Category:Lists of museums|Contemporary art museums]]<br />
[[Category:Arts-related lists|Museums]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=List_of_contemporary_art_museums&diff=575287953List of contemporary art museums2013-10-01T13:33:06Z<p>5.35.187.134: /* Australia */</p>
<hr />
<div>'''Contemporary art museums''' around the world specialize in collecting and exhibiting [[contemporary art]]. The following is an alphabetical listing of major contemporary art [[museum]]s, divided by country. A number of such museums are called the Museum of Contemporary Art. For smaller galleries, such as private and artist-run galleries, see [[International Contemporary Art Scenes]].<br />
{{TOCright}}<br />
<br />
== Australiaerewrr ==<br />
* [[Queensland Gallery of Modern Art]]<br />
* [[Museum of Contemporary Art, Sydney]]<br />
* [[Australian Centre for Contemporary Art]]<br />
<br />
== Brazil ==<br />
*[[Inhotim]]<br />
*[[Museum of Contemporary Art, University of São Paulo]]<br />
*[[Niterói Contemporary Art Museum]]<br />
<br />
== Canada ==<br />
* [[Art Gallery of Ontario]]<br />
* [[Contemporary Art Gallery (Vancouver)]]<br />
* [[Museum of Contemporary Canadian Art]]<br />
* [[Vancouver Art Gallery]]<br />
* [[Musée d'art contemporain de Montréal]]<br />
<br />
== China ==<br />
* [[Museum of Contemporary Art, Asia]], Hong Kong<br />
* [[Museum of Contemporary Art Shanghai]]<br />
* [[Nanjing 4Cube Museum of Contemporary Art]]<br />
* [[Power Station of Art]], Shanghai<br />
* [[Ullens Center for Contemporary Art]], Beijing<br />
<br />
== Croatia ==<br />
* [[Museum of Contemporary Art, Zagreb]]<br />
<br />
== France ==<br />
* [[Lille Métropole Museum of Modern, Contemporary and Outsider Art]], [[Villeneuve d'Ascq]]<br />
* [[Centre Georges Pompidou]], [[Paris]]<br />
* [http://palaisdetokyo.com Palais de Tokyo], [[Paris]]<br />
* [http://www.macval.fr MACVAL], [[Vitry-sur-Seine]]<br />
* [[Centre Pompidou-Metz]], [[Metz]]<br />
* [http://www.capc-bordeaux.fr/ CAPC], [[Bordeaux]]<br />
* [http://www.magasin-cnac.org/ CNAC Le Magasin], [[Grenoble]]<br />
* [http://www.villa-arson.org/ Villa Arson], [[Nice]]<br />
* [http://www.collectionlambert.fr Collection Lambert], [[Avignon]]<br />
* [http://www.cracalsace.com CRAC Alsace], [[Altkirch]]<br />
<br />
== Germany ==<br />
* [[Deichtorhallen]], [[Hamburg]]<br />
<br />
== Greece ==<br />
* [[National Museum of Contemporary Art, Athens|National museum of Contemporary Art]], [[Athens]]<br />
* [[ART ATHINA|ART-ATHINA]], Athens<br />
* [[State Museum of Contemporary Arts]], [[Thessaloniki]]<br />
* [[Macedonian Museum of Contemporary Art]], Thessaloniki<br />
<br />
== Italy ==<br />
* [[Peggy Guggenheim Collection]], [[Venice]]<br />
* [[Museum of Contemporary Art of Rome]], [[Rome]]<br />
* [[MAXXI – National Museum of the 21st Century Arts]], [[Rome]]<br />
* [[Galleria Nazionale d'Arte Moderna]], [[Rome]]<br />
* [[Galleria Comunale d'Arte Moderna, Rome]], [[Rome]]<br />
* [[Padiglione d'Arte Contemporanea]], [[Milan]]<br />
* [[Triennale]], [[Milan]]<br />
* [[Museo del Novecento]], [[Milan]]<br />
* [[Museum of Modern and Contemporary Art of Trento and Rovereto]], [[Trento]]<br />
* [[Castello di Rivoli - Museum of Contemporary Art]], [[Turin]]<br />
* [[Galleria Civica d'Arte Moderna e Contemporanea]], [[Turin]]<br />
* [[Centro per l'Arte Contemporanea Luigi Pecci]], [[Prato]]<br />
* [[Museum of Contemporary Art Villa Panza]], [[Varese]]<br />
* [[Palazzo Grassi / Punta della Dogana (Pinault Collection)]], [[Venice]]<br />
* [[Palazzo delle Arti]], [[Naples]]<br />
* [[Museo d'Arte Contemporanea Donnaregina (MADRE)]], [[Naples]]<br />
* [[Museo del Novecento, Castel Sant'Elmo]], [[Naples]]<br />
* [[CCC Strozzina - Centre for Contemporary Culture]], [[Florence]]<br />
* [[Museo Marino Marini]], [[Florence]]<br />
* [[Raccolta d'Arte Contemporanea Alberto della Ragione]], [[Florence]]<br />
* [[Galleria d'Arte Moderna e Contemporanea]], [[Bergamo]]<br />
* [[Kunst Merano Arte]], [[Merano]]<br />
* [[Museo d'Arte Gallarate MAGA]], [[Gallarate]]<br />
* [[Museo d'Arte Contemporanea Villa Croce]], [[Genova]]<br />
* [[Museion (Museo d'Arte Contemporanea)]], [[Bolzano]]<br />
* [[Centro Sperimentale per le Arti Contemporanee Cesac]], [[Cuneo]]<br />
* [[Centro Arti Visive Pescheria]], [[Pesaro]]<br />
* [[MAN - Museo d'Arte di Nuoro]], [[Nuoro]]<br />
* [[GCAC - Galleria Comunale d'Arte Contemporanea]], [[Arezzo]]<br />
* [[MACS - Museo d'Arte Contemporanea]], [[Catania]]<br />
* [[GAMC - Gallerie d'Arte Moderna e Contemporanea]], [[Ferrara]]<br />
* [[MUDAC – Museo di Arte Contemporanea]], [[Floridia]]<br />
* [[Museo d'Arte Contemporanea]], [[Gibellina]]<br />
* [[Lucca Center of Contemporary Art]], [[Lucca]]<br />
* [[RISO - Museo d'Arte Contemporanea della Sicilia]], [[Palermo]]<br />
* [[Museo d'Arte Contemporanea e del Novecento]], [[Monsummano]]<br />
* [[Museo Sperimentale d'Arte Contemporanea]], [[L'Aquila]]<br />
* [[CAMeC - Centro d'Arte Moderna e Contemporanea]], [[La Spezia]]<br />
* [[Museo d'Arte Contemporanea]], [[Lissone]]<br />
* [[MACA - Museo d'Arte Contemporanea Acri]], [[Acri]]<br />
* [[Galleria d'Arte Contemporanea]], [[Assisi]]<br />
* [[MdAO - Museo d'Arte]], [[Avellino]]<br />
* [[Museo d'Arte Contemporanea Sannio]], [[Benevento]]<br />
* [[Museo d'Arte Contemporanea]], [[Fonte Nuova]]<br />
* [[Stazione dell'Arte]], [[Ulassai]]<br />
<br />
== Japan ==<br />
* [[Museum of Contemporary Art, Tokyo]]<br />
<br />
== Liechtenstein ==<br />
* [[Kunstmuseum Liechtenstein]], Vaduz<br />
<br />
== The Middle East ==<br />
* [[Tehran Museum of Contemporary Art]]<br />
* [[Jordan National Gallery of Fine Arts]]<br />
<br />
== Netherlands ==<br />
* [[Stedelijk Museum]], [[Amsterdam]]<br />
* [[Van Gogh Museum]], Amsterdam<br />
* [[Cobra Museum]], [[Amstelveen]]<br />
* [[Gemeentemuseum Den Haag]], [[Den Haag]]<br />
* [[Van Abbemuseum]], [[Eindhoven]]<br />
* [[Groninger Museum]], [[Groningen]]<br />
* [[Stedelijk Museum 's-Hertogenbosch]], [['s-Hertogenbosch]]<br />
* [[Singer Laren]], [[Laren]]<br />
* [[Bonnefantenmuseum]], [[Maastricht]]<br />
* [[Kröller-Müller Museum]], [[Otterloo]]<br />
* [[Kunsthal]], [[Rotterdam]]<br />
* [[Museum Boijmans Van Beuningen]], Rotterdam<br />
* [[Centraal Museum]], [[Utrecht]]<br />
<br />
== Norway ==<br />
* [[Astrup Fearnley Museum of Modern Art]], [[Oslo]]<br />
<br />
==Poland==<br />
* [[Museum of Modern Art, Warsaw]], [[Warsaw]], [[Poland]]<br />
* [[Art Museum]], [[Łódź]], [[Poland]] - one of the oldest museums of modern art in the world, opened in 1931 [http://msl.org.pl/en/strony/_history/ Muzeum Sztuki]<br />
<br />
== Portugal ==<br />
* [[Serralves Foundation]]<br />
<br />
* [[Museu do Chiado]]<br />
<br />
* CBB - Centro Cultural de Belém <br />
* MUSEU JOSÉ MALHOA<br />
* MUSEU NACIONAL DE ARTE CONTEMPORÂNEAMUSEU DA FUNDAÇÃO ARPAD SZENES-VIEIRA DA SILVAMUSEU COLECÇÃO BERARDO <br />
* MUSEU DE ARTE CONTEMPORÂNEA DE ELVAS<br />
* MUDE - MUSEU DO DESIGN E DA MODA<br />
* CENTRO DE ARTE CONTEMPORÂNEA GRAÇA MORAIS<br />
sdffgsdf ==<br />
* [[ARKA Gallery (Saint Petersburg)|ARKA Gallery]], [[Saint Petersburg]]<br />
* [[ART4.RU Contemporary Art Museum]], [[Moscow]]<br />
* [[Bakhmetevsky Bus Garage|The Garage]], [[Moscow]]<br />
* [[Erarta]], [[Saint Petersburg]]<br />
* [[Museum of Avant-Garde Mastery|MAGMA]], [[Moscow]]<br />
* [[Moscow House of Photography]], [[Moscow]]<br />
* [[Moscow Museum of Modern Art]], [[Moscow]]<br />
* [[Multimedia Art Museum, Moscow]]<br />
* [[National Centre for Contemporary Arts]], [[Moscow]]<br />
* [[Tretyakov Gallery|New Tretyakov Gallery]], [[Moscow]]<br />
<br />
== Serbia ==<br />
* [[Museum of Contemporary Art (Belgrade)|Museum of Contemporary Art, Belgrade]]<br />
<br />
== Singapore ==<br />
* [[Singapore Art Museum]]<br />
<br />
== Spain ==<br />
* [http://www.meam.es European Museum of Modern Art - MEAM]<br />
* [[Barcelona Museum of Contemporary Art]]<br />
* CAAC, [[Seville]]<br />
* [[Guggenheim Museum Bilbao]], [[Bilbao]]<br />
* MUSAC, [[León, Spain|León]]<br />
* [[Museo de Escultura al Aire Libre de Alcalá de Henares]]<br />
* [[Museo Nacional Centro de Arte Reina Sofía|Museo Nacional Centro de Arte Reina Sofía, Madrid]]<br />
<br />
== Sweden ==<br />
* [[Moderna Museet]]<br />
<br />
== Switzerland ==<br />
* [[Kunstmuseum Basel]]<br />
<br />
== Thailand ==<br />
* [[Bangkok Art and Culture Centre]]<br />
<br />
==Turkey==<br />
* Istanbul Museum of Modern Art [http://www.istanbulmodern.org/en (Istanbul Modern)]<br />
* iS.CaM. [[Istanbul Contemporary Art Museum]]<br />
* SALT [[SALT (institution)]]<br />
<br />
== United Kingdom ==<br />
* [[Institute of Contemporary Arts]]<br />
* [[Saatchi Gallery]]<br />
* [[Tate (gallery)|Tate]] (formerly known as the [[Tate Gallery]])<br />
* [[The Baltic]] (also known as the Baltic Flour Mill)<br />
<br />
== United States ==<br />
<br />
* [[The Aldrich Contemporary Art Museum]], Ridgefield, Connecticut<br />
* [[Artspace]], New Haven, Connecticut<br />
* [[Atlanta Contemporary Art Center]], Atlanta, Georgia<br />
* Boulder Museum of Contemporary Art, Boulder, Colorado<br />
* [[Blue Star Contemporary Art Museum]], San Antonio, Texas<br />
* [[Contemporary Art Museum St. Louis]], St. Louis, Missouri<br />
* [[Contemporary Arts Center]], Cincinnati, Ohio<br />
* [[Contemporary Arts Museum Houston]], Houston, Texas<br />
* [[Contemporary Museum Baltimore]], Baltimore, Maryland<br />
* [[The Contemporary Museum, Honolulu]], Honolulu, Hawaii<br />
* [[Delaware Center for the Contemporary Arts]], Wilmington, Delaware <br />
* [[Henry Art Gallery]], Seattle, Washington<br />
* [[Indianapolis Museum of Contemporary Art]], Indianapolis, Indiana<br />
* [[Institute of Contemporary Art, Boston]], Boston, Massachusetts<br />
* [[Institute of Contemporary Art, Philadelphia]], Philadelphia, Pennsylvania<br />
* [[Kemper Museum of Contemporary Art]], Kansas City, Missouri<br />
* [[Madison Museum of Contemporary Art]], Madison, Wisconsin <br />
* [[Mattress Factory]], Pittsburgh, Pennsylvania<br />
* [[Massachusetts Museum of Contemporary Art]], North Adams, Massachusetts<br />
* [[Modern Art Museum of Fort Worth]], Fort Worth, Texas<br />
* [[Museum of Contemporary Art, Chicago]], Chicago, Illinois<br />
* [[Museum of Contemporary Art, Cleveland]], Cleveland, Ohio<br />
* [[Museum of Contemporary Art Detroit]], Detroit, Michigan<br />
* [[Museum of Contemporary Art of Georgia]], Atlanta, Georgia<br />
* [[Museum of Contemporary Art Jacksonville]], Jacksonville, Florida<br />
* [[Museum of Contemporary Art, Los Angeles]], Los Angeles, California<br />
* [[Museum of Contemporary Art, North Miami]], Miami, Florida<br />
* [[Museum of Contemporary Art, San Diego]], San Diego, California<br />
* [[Museum of Contemporary Art, Tucson]], Tucson, Arizona<br />
* [[New Museum of Contemporary Art]], New York City, New York<br />
* [[Orange County Museum of Art]], Newport Beach, California<br />
* [[P.S. 1 Contemporary Art Center]], New York City, New York<br />
* [[The Renaissance Society]], Chicago, Illinois<br />
* [[Rose Art Museum]], Waltham, Massachusetts<br />
* [[San Francisco Museum of Modern Art]], San Francisco, California<br />
* [[Scottsdale Museum of Contemporary Art]], Scottsdale, Arizona<br />
* [[SITE Santa Fe]], Santa Fe, New Mexico<br />
* [[Southeastern Center for Contemporary Art]], Winston-Salem, North Carolina<br />
* [[Station Museum of Contemporary Art]], Houston, Texas<br />
*[[The Contemporary Austin]], Austin, Texas<br />
* [[Virginia Museum of Contemporary Art]], Virginia Beach, Virginia<br />
* [[Walker Art Center]], Minneapolis, Minnesota<br />
* [[Whitney Museum of American Art]], New York City, New York<br />
<br />
== Further reading ==<br />
* [[Jesus Pedro Lorente]], ''Cathedrals of urban modernity: the first museums of contemporary art, 1800-1930'', Ashgate (1998)<br />
* [[Jesus Pedro Lorente]], ''The Museums of Contemporary Art: Notion and Development'', Ashgate (2011)<br />
* [[Bruce Altshuler]], ''[http://books.google.fr/books?id=UOUPw0wM5j8C&lpg=PP1&hl=fr&pg=PP1#v=onepage&q&f=false Collecting the new: museums and contemporary art]'', Princeton University Press (2007)<br />
<br />
==See also==<br />
* [[Museum of Contemporary Art (disambiguation)]]<br />
<br />
[[Category:Contemporary art| Museums]]<br />
[[Category:Contemporary art galleries| Museums]]<br />
[[Category:Modern art museums| ]]<br />
[[Category:Postmodern art| Museums]]<br />
[[Category:Postmodernism]]<br />
[[Category:Lists of museums|Contemporary art museums]]<br />
[[Category:Arts-related lists|Museums]]</div>5.35.187.134https://en.wikipedia.org/w/index.php?title=List_of_contemporary_art_museums&diff=575287900List of contemporary art museums2013-10-01T13:32:34Z<p>5.35.187.134: /* Russia */</p>
<hr />
<div>'''Contemporary art museums''' around the world specialize in collecting and exhibiting [[contemporary art]]. The following is an alphabetical listing of major contemporary art [[museum]]s, divided by country. A number of such museums are called the Museum of Contemporary Art. For smaller galleries, such as private and artist-run galleries, see [[International Contemporary Art Scenes]].<br />
{{TOCright}}<br />
<br />
== Australia ==<br />
* [[Queensland Gallery of Modern Art]]<br />
* [[Museum of Contemporary Art, Sydney]]<br />
* [[Australian Centre for Contemporary Art]]<br />
<br />
== Brazil ==<br />
*[[Inhotim]]<br />
*[[Museum of Contemporary Art, University of São Paulo]]<br />
*[[Niterói Contemporary Art Museum]]<br />
<br />
== Canada ==<br />
* [[Art Gallery of Ontario]]<br />
* [[Contemporary Art Gallery (Vancouver)]]<br />
* [[Museum of Contemporary Canadian Art]]<br />
* [[Vancouver Art Gallery]]<br />
* [[Musée d'art contemporain de Montréal]]<br />
<br />
== China ==<br />
* [[Museum of Contemporary Art, Asia]], Hong Kong<br />
* [[Museum of Contemporary Art Shanghai]]<br />
* [[Nanjing 4Cube Museum of Contemporary Art]]<br />
* [[Power Station of Art]], Shanghai<br />
* [[Ullens Center for Contemporary Art]], Beijing<br />
<br />
== Croatia ==<br />
* [[Museum of Contemporary Art, Zagreb]]<br />
<br />
== France ==<br />
* [[Lille Métropole Museum of Modern, Contemporary and Outsider Art]], [[Villeneuve d'Ascq]]<br />
* [[Centre Georges Pompidou]], [[Paris]]<br />
* [http://palaisdetokyo.com Palais de Tokyo], [[Paris]]<br />
* [http://www.macval.fr MACVAL], [[Vitry-sur-Seine]]<br />
* [[Centre Pompidou-Metz]], [[Metz]]<br />
* [http://www.capc-bordeaux.fr/ CAPC], [[Bordeaux]]<br />
* [http://www.magasin-cnac.org/ CNAC Le Magasin], [[Grenoble]]<br />
* [http://www.villa-arson.org/ Villa Arson], [[Nice]]<br />
* [http://www.collectionlambert.fr Collection Lambert], [[Avignon]]<br />
* [http://www.cracalsace.com CRAC Alsace], [[Altkirch]]<br />
<br />
== Germany ==<br />
* [[Deichtorhallen]], [[Hamburg]]<br />
<br />
== Greece ==<br />
* [[National Museum of Contemporary Art, Athens|National museum of Contemporary Art]], [[Athens]]<br />
* [[ART ATHINA|ART-ATHINA]], Athens<br />
* [[State Museum of Contemporary Arts]], [[Thessaloniki]]<br />
* [[Macedonian Museum of Contemporary Art]], Thessaloniki<br />
<br />
== Italy ==<br />
* [[Peggy Guggenheim Collection]], [[Venice]]<br />
* [[Museum of Contemporary Art of Rome]], [[Rome]]<br />
* [[MAXXI – National Museum of the 21st Century Arts]], [[Rome]]<br />
* [[Galleria Nazionale d'Arte Moderna]], [[Rome]]<br />
* [[Galleria Comunale d'Arte Moderna, Rome]], [[Rome]]<br />
* [[Padiglione d'Arte Contemporanea]], [[Milan]]<br />
* [[Triennale]], [[Milan]]<br />
* [[Museo del Novecento]], [[Milan]]<br />
* [[Museum of Modern and Contemporary Art of Trento and Rovereto]], [[Trento]]<br />
* [[Castello di Rivoli - Museum of Contemporary Art]], [[Turin]]<br />
* [[Galleria Civica d'Arte Moderna e Contemporanea]], [[Turin]]<br />
* [[Centro per l'Arte Contemporanea Luigi Pecci]], [[Prato]]<br />
* [[Museum of Contemporary Art Villa Panza]], [[Varese]]<br />
* [[Palazzo Grassi / Punta della Dogana (Pinault Collection)]], [[Venice]]<br />
* [[Palazzo delle Arti]], [[Naples]]<br />
* [[Museo d'Arte Contemporanea Donnaregina (MADRE)]], [[Naples]]<br />
* [[Museo del Novecento, Castel Sant'Elmo]], [[Naples]]<br />
* [[CCC Strozzina - Centre for Contemporary Culture]], [[Florence]]<br />
* [[Museo Marino Marini]], [[Florence]]<br />
* [[Raccolta d'Arte Contemporanea Alberto della Ragione]], [[Florence]]<br />
* [[Galleria d'Arte Moderna e Contemporanea]], [[Bergamo]]<br />
* [[Kunst Merano Arte]], [[Merano]]<br />
* [[Museo d'Arte Gallarate MAGA]], [[Gallarate]]<br />
* [[Museo d'Arte Contemporanea Villa Croce]], [[Genova]]<br />
* [[Museion (Museo d'Arte Contemporanea)]], [[Bolzano]]<br />
* [[Centro Sperimentale per le Arti Contemporanee Cesac]], [[Cuneo]]<br />
* [[Centro Arti Visive Pescheria]], [[Pesaro]]<br />
* [[MAN - Museo d'Arte di Nuoro]], [[Nuoro]]<br />
* [[GCAC - Galleria Comunale d'Arte Contemporanea]], [[Arezzo]]<br />
* [[MACS - Museo d'Arte Contemporanea]], [[Catania]]<br />
* [[GAMC - Gallerie d'Arte Moderna e Contemporanea]], [[Ferrara]]<br />
* [[MUDAC – Museo di Arte Contemporanea]], [[Floridia]]<br />
* [[Museo d'Arte Contemporanea]], [[Gibellina]]<br />
* [[Lucca Center of Contemporary Art]], [[Lucca]]<br />
* [[RISO - Museo d'Arte Contemporanea della Sicilia]], [[Palermo]]<br />
* [[Museo d'Arte Contemporanea e del Novecento]], [[Monsummano]]<br />
* [[Museo Sperimentale d'Arte Contemporanea]], [[L'Aquila]]<br />
* [[CAMeC - Centro d'Arte Moderna e Contemporanea]], [[La Spezia]]<br />
* [[Museo d'Arte Contemporanea]], [[Lissone]]<br />
* [[MACA - Museo d'Arte Contemporanea Acri]], [[Acri]]<br />
* [[Galleria d'Arte Contemporanea]], [[Assisi]]<br />
* [[MdAO - Museo d'Arte]], [[Avellino]]<br />
* [[Museo d'Arte Contemporanea Sannio]], [[Benevento]]<br />
* [[Museo d'Arte Contemporanea]], [[Fonte Nuova]]<br />
* [[Stazione dell'Arte]], [[Ulassai]]<br />
<br />
== Japan ==<br />
* [[Museum of Contemporary Art, Tokyo]]<br />
<br />
== Liechtenstein ==<br />
* [[Kunstmuseum Liechtenstein]], Vaduz<br />
<br />
== The Middle East ==<br />
* [[Tehran Museum of Contemporary Art]]<br />
* [[Jordan National Gallery of Fine Arts]]<br />
<br />
== Netherlands ==<br />
* [[Stedelijk Museum]], [[Amsterdam]]<br />
* [[Van Gogh Museum]], Amsterdam<br />
* [[Cobra Museum]], [[Amstelveen]]<br />
* [[Gemeentemuseum Den Haag]], [[Den Haag]]<br />
* [[Van Abbemuseum]], [[Eindhoven]]<br />
* [[Groninger Museum]], [[Groningen]]<br />
* [[Stedelijk Museum 's-Hertogenbosch]], [['s-Hertogenbosch]]<br />
* [[Singer Laren]], [[Laren]]<br />
* [[Bonnefantenmuseum]], [[Maastricht]]<br />
* [[Kröller-Müller Museum]], [[Otterloo]]<br />
* [[Kunsthal]], [[Rotterdam]]<br />
* [[Museum Boijmans Van Beuningen]], Rotterdam<br />
* [[Centraal Museum]], [[Utrecht]]<br />
<br />
== Norway ==<br />
* [[Astrup Fearnley Museum of Modern Art]], [[Oslo]]<br />
<br />
==Poland==<br />
* [[Museum of Modern Art, Warsaw]], [[Warsaw]], [[Poland]]<br />
* [[Art Museum]], [[Łódź]], [[Poland]] - one of the oldest museums of modern art in the world, opened in 1931 [http://msl.org.pl/en/strony/_history/ Muzeum Sztuki]<br />
<br />
== Portugal ==<br />
* [[Serralves Foundation]]<br />
<br />
* [[Museu do Chiado]]<br />
<br />
* CBB - Centro Cultural de Belém <br />
* MUSEU JOSÉ MALHOA<br />
* MUSEU NACIONAL DE ARTE CONTEMPORÂNEAMUSEU DA FUNDAÇÃO ARPAD SZENES-VIEIRA DA SILVAMUSEU COLECÇÃO BERARDO <br />
* MUSEU DE ARTE CONTEMPORÂNEA DE ELVAS<br />
* MUDE - MUSEU DO DESIGN E DA MODA<br />
* CENTRO DE ARTE CONTEMPORÂNEA GRAÇA MORAIS<br />
sdffgsdf ==<br />
* [[ARKA Gallery (Saint Petersburg)|ARKA Gallery]], [[Saint Petersburg]]<br />
* [[ART4.RU Contemporary Art Museum]], [[Moscow]]<br />
* [[Bakhmetevsky Bus Garage|The Garage]], [[Moscow]]<br />
* [[Erarta]], [[Saint Petersburg]]<br />
* [[Museum of Avant-Garde Mastery|MAGMA]], [[Moscow]]<br />
* [[Moscow House of Photography]], [[Moscow]]<br />
* [[Moscow Museum of Modern Art]], [[Moscow]]<br />
* [[Multimedia Art Museum, Moscow]]<br />
* [[National Centre for Contemporary Arts]], [[Moscow]]<br />
* [[Tretyakov Gallery|New Tretyakov Gallery]], [[Moscow]]<br />
<br />
== Serbia ==<br />
* [[Museum of Contemporary Art (Belgrade)|Museum of Contemporary Art, Belgrade]]<br />
<br />
== Singapore ==<br />
* [[Singapore Art Museum]]<br />
<br />
== Spain ==<br />
* [http://www.meam.es European Museum of Modern Art - MEAM]<br />
* [[Barcelona Museum of Contemporary Art]]<br />
* CAAC, [[Seville]]<br />
* [[Guggenheim Museum Bilbao]], [[Bilbao]]<br />
* MUSAC, [[León, Spain|León]]<br />
* [[Museo de Escultura al Aire Libre de Alcalá de Henares]]<br />
* [[Museo Nacional Centro de Arte Reina Sofía|Museo Nacional Centro de Arte Reina Sofía, Madrid]]<br />
<br />
== Sweden ==<br />
* [[Moderna Museet]]<br />
<br />
== Switzerland ==<br />
* [[Kunstmuseum Basel]]<br />
<br />
== Thailand ==<br />
* [[Bangkok Art and Culture Centre]]<br />
<br />
==Turkey==<br />
* Istanbul Museum of Modern Art [http://www.istanbulmodern.org/en (Istanbul Modern)]<br />
* iS.CaM. [[Istanbul Contemporary Art Museum]]<br />
* SALT [[SALT (institution)]]<br />
<br />
== United Kingdom ==<br />
* [[Institute of Contemporary Arts]]<br />
* [[Saatchi Gallery]]<br />
* [[Tate (gallery)|Tate]] (formerly known as the [[Tate Gallery]])<br />
* [[The Baltic]] (also known as the Baltic Flour Mill)<br />
<br />
== United States ==<br />
<br />
* [[The Aldrich Contemporary Art Museum]], Ridgefield, Connecticut<br />
* [[Artspace]], New Haven, Connecticut<br />
* [[Atlanta Contemporary Art Center]], Atlanta, Georgia<br />
* Boulder Museum of Contemporary Art, Boulder, Colorado<br />
* [[Blue Star Contemporary Art Museum]], San Antonio, Texas<br />
* [[Contemporary Art Museum St. Louis]], St. Louis, Missouri<br />
* [[Contemporary Arts Center]], Cincinnati, Ohio<br />
* [[Contemporary Arts Museum Houston]], Houston, Texas<br />
* [[Contemporary Museum Baltimore]], Baltimore, Maryland<br />
* [[The Contemporary Museum, Honolulu]], Honolulu, Hawaii<br />
* [[Delaware Center for the Contemporary Arts]], Wilmington, Delaware <br />
* [[Henry Art Gallery]], Seattle, Washington<br />
* [[Indianapolis Museum of Contemporary Art]], Indianapolis, Indiana<br />
* [[Institute of Contemporary Art, Boston]], Boston, Massachusetts<br />
* [[Institute of Contemporary Art, Philadelphia]], Philadelphia, Pennsylvania<br />
* [[Kemper Museum of Contemporary Art]], Kansas City, Missouri<br />
* [[Madison Museum of Contemporary Art]], Madison, Wisconsin <br />
* [[Mattress Factory]], Pittsburgh, Pennsylvania<br />
* [[Massachusetts Museum of Contemporary Art]], North Adams, Massachusetts<br />
* [[Modern Art Museum of Fort Worth]], Fort Worth, Texas<br />
* [[Museum of Contemporary Art, Chicago]], Chicago, Illinois<br />
* [[Museum of Contemporary Art, Cleveland]], Cleveland, Ohio<br />
* [[Museum of Contemporary Art Detroit]], Detroit, Michigan<br />
* [[Museum of Contemporary Art of Georgia]], Atlanta, Georgia<br />
* [[Museum of Contemporary Art Jacksonville]], Jacksonville, Florida<br />
* [[Museum of Contemporary Art, Los Angeles]], Los Angeles, California<br />
* [[Museum of Contemporary Art, North Miami]], Miami, Florida<br />
* [[Museum of Contemporary Art, San Diego]], San Diego, California<br />
* [[Museum of Contemporary Art, Tucson]], Tucson, Arizona<br />
* [[New Museum of Contemporary Art]], New York City, New York<br />
* [[Orange County Museum of Art]], Newport Beach, California<br />
* [[P.S. 1 Contemporary Art Center]], New York City, New York<br />
* [[The Renaissance Society]], Chicago, Illinois<br />
* [[Rose Art Museum]], Waltham, Massachusetts<br />
* [[San Francisco Museum of Modern Art]], San Francisco, California<br />
* [[Scottsdale Museum of Contemporary Art]], Scottsdale, Arizona<br />
* [[SITE Santa Fe]], Santa Fe, New Mexico<br />
* [[Southeastern Center for Contemporary Art]], Winston-Salem, North Carolina<br />
* [[Station Museum of Contemporary Art]], Houston, Texas<br />
*[[The Contemporary Austin]], Austin, Texas<br />
* [[Virginia Museum of Contemporary Art]], Virginia Beach, Virginia<br />
* [[Walker Art Center]], Minneapolis, Minnesota<br />
* [[Whitney Museum of American Art]], New York City, New York<br />
<br />
== Further reading ==<br />
* [[Jesus Pedro Lorente]], ''Cathedrals of urban modernity: the first museums of contemporary art, 1800-1930'', Ashgate (1998)<br />
* [[Jesus Pedro Lorente]], ''The Museums of Contemporary Art: Notion and Development'', Ashgate (2011)<br />
* [[Bruce Altshuler]], ''[http://books.google.fr/books?id=UOUPw0wM5j8C&lpg=PP1&hl=fr&pg=PP1#v=onepage&q&f=false Collecting the new: museums and contemporary art]'', Princeton University Press (2007)<br />
<br />
==See also==<br />
* [[Museum of Contemporary Art (disambiguation)]]<br />
<br />
[[Category:Contemporary art| Museums]]<br />
[[Category:Contemporary art galleries| Museums]]<br />
[[Category:Modern art museums| ]]<br />
[[Category:Postmodern art| Museums]]<br />
[[Category:Postmodernism]]<br />
[[Category:Lists of museums|Contemporary art museums]]<br />
[[Category:Arts-related lists|Museums]]</div>5.35.187.134