title: Victoria and Albert Museum

text: Writers whose papers are in the library are as diverse as Charles Dickens (that includes the manuscripts of most of his novels) and Beatrix Potter (with the greatest collection of her original manuscripts.in the world). Illuminated manuscripts in the library dating from the 12th to 16th centuries include: a leaf from the Eadwine Psalter, Canterbury; Pocket Book of Hours, Reims; Missal from the Royal Abbey of Saint Denis, Paris; the Simon Marmion Book of Hours, Bruges; 1524 Charter illuminated by Lucas Horenbout, London; the Armagnac manuscript of the trial and rehabilitation of Joan of Arc, Rouen. also the Victorian period is represented by William Morris.


title: Victoria and Albert Museum

text: The National Art Library (also called Word and Image Department) at the Victoria and Albert Museum collection catalogue used to be kept in different formats including printed exhibit catalogues, and card catalogues. A computer system called MODES cataloguing system was used from the 1980s to the 1990s, but those electronic files were not available to the library users. All of the archival material at the National Art Library is using Encoded Archival Description (EAD). The Victoria and Albert Museum has a computer system but most of the items in the collection, unless those were newly accessioned into the collection, probably do not show up in the computer system. There is a feature on the Victoria and Albert Museum website called "Search the Collections," but not everything is listed there.


title: Victoria and Albert Museum

text: The National Art Library also includes a collection of comics and comic art. Notable parts of the collection include the Krazy Kat Arkive, comprising 4,200 comics, and the Rakoff Collection, comprising 17,000 items collected by writer and editor Ian Rakoff.


title: Victoria and Albert Museum

text: The Victoria and Albert Museum's Word and Image Department was under the same pressure being felt in archives around the world, to digitise their collection. A large scale digitisation project began in 2007 in that department. That project was entitled the Factory Project to reference Andy Warhol and to create a factory to completely digitise the collection. The first step of the Factory Project was to take photographs using digital cameras. The Word and Image Department had a collection of old photos but they were in black and white and in variant conditions, so new photos were shot. Those new photographs will be accessible to researchers to the Victoria and Albert Museum web-site. 15,000 images were taken during the first year of the Factory Project, including drawings, watercolors, computer-generated art, photographs, posters, and woodcuts. The second step of the Factory Project is to catalogue everything. The third step of the Factory Project is to audit the collection. All of those items which were photographed and catalogued, must be audited to make sure everything listed as being in the collection was physically found during the creation of the Factory Project. The fourth goal of the Factory Project is conservation, which means performing some basic preventable procedures to those items in the department. There is a "Search the Collections" feature on the Victoria and Albert web-site. The main impetus behind the large-scale digitisation project called the Factory Project was to list more items in the collections in those computer databases.


title: Victoria and Albert Museum

text: These fifteen galleries—which opened in November 2001—contain around 4,000 items. The displays in these galleries are based around three major themes: "Style", "Who Led Taste" and "What Was New". The period covered is 1500 to 1900, with the galleries divided into three major subdivisions:


title: Victoria and Albert Museum

text: Not only the work of British artists and craftspeople is on display, but also work produced by European artists that was purchased or commissioned by British patrons, as well as imports from Asia, including porcelain, cloth and wallpaper. Designers and artists whose work is on display in the galleries include Gian Lorenzo Bernini, Grinling Gibbons, Daniel Marot, Louis Laguerre, Antonio Verrio, Sir James Thornhill, William Kent, Robert Adam, Josiah Wedgwood, Matthew Boulton, Canova, Thomas Chippendale, Pugin, William Morris. Patrons who have influenced taste are also represented by works of art from their collections, these include: Horace Walpole (a major influence on the Gothic Revival), William Thomas Beckford and Thomas Hope.


title: Victoria and Albert Museum

text: The galleries showcase a number of complete and partial reconstructions of period rooms, from demolished buildings, including:


title: Victoria and Albert Museum

text: The galleries also link design to wider trends in British culture. For instance, design in the Tudor period was influenced by the spread of printed books and the work of European artists and craftsmen employed in Britain. In the Stuart period, increasing trade, especially with Asia, enabled wider access to luxuries like carpets, lacquered furniture, silks and porcelain. In the Georgian age there was an increasing emphasis on entertainment and leisure. For example, the increase in tea drinking led to the production of tea paraphernalia such as china and caddies. European styles are seen on the Grand Tour also influenced taste. As the Industrial Revolution took hold, the growth of mass production produced entrepreneurs such as Josiah Wedgwood, Matthew Boulton and Eleanor Coade. In the Victorian era new technology and machinery had a significant effect on manufacturing, and for the first time since the reformation, the Anglican and Roman Catholic Churches had a major effect on art and design such as the Gothic Revival. There is a large display on the Great Exhibition which, among other things, led to the founding of the V&A. In the later 19th century, the increasing backlash against industrialisation, led by John Ruskin, contributed to the Arts and Crafts movement.


title: Victoria and Albert Museum

text: One of the most dramatic parts of the museum is the Cast Courts in the sculpture wing, comprising two large, skylighted rooms two storeys high housing hundreds of plaster casts of sculptures, friezes and tombs. One of these is dominated by a full-scale replica of Trajan's Column, cut in half to fit under the ceiling. The other includes reproductions of various works of Italian Renaissance sculpture and architecture, including a full-size replica of Michelangelo's "David". Replicas of two earlier Davids by Donatello and Verrocchio, are also included, although for conservation reasons the Verrocchio replica is displayed in a glass case.


title: Victoria and Albert Museum

text: The two courts are divided by corridors on both storeys, and the partitions that used to line the upper corridor (the Gilbert Bayes sculpture gallery) were removed in 2004 to allow the courts to be viewed from above.


title: Victoria and Albert Museum

text: This is the largest and most comprehensive ceramics and glass collection in the world, with over 80,000 objects from around the world. Every populated continent is represented. Apart from the many pieces in the Primary Galleries on the ground floor, much of the top floor is devoted to galleries of ceramics of all periods covered, which include display cases with a representative selection, but also massed "visible storage" displays of the reserve collection.


title: Victoria and Albert Museum

text: Well represented in the collection is Meissen porcelain, from the first factory in Europe to discover the Chinese method of making porcelain. Among the finest examples are the Meissen Vulture from 1731 and the Möllendorff Dinner Service, designed in 1762 by Frederick II the Great. Ceramics from the Manufacture nationale de Sèvres are extensive, especially from the 18th and 19th centuries. The collection of 18th-century British porcelain is the largest and finest in the world. Examples from every factory are represented, the collections of Chelsea porcelain and Worcester porcelain being especially fine. All the major 19th-century British factories are also represented. A major boost to the collections was the Salting Bequest made in 1909, which enriched the museum's stock of Chinese and Japanese ceramics. This bequest forms part of the finest collection of East Asian pottery and porcelain in the world, including Kakiemon ware.


title: Victoria and Albert Museum

text: Many famous potters, such as Josiah Wedgwood, William De Morgan and Bernard Leach as well as Mintons & Royal Doulton are represented in the collection. There is an extensive collection of Delftware produced in both Britain and Holland, which includes a circa 1695 flower pyramid over a metre in height. Bernard Palissy has several examples of his work in the collection including dishes, jugs and candlesticks. The largest objects in the collection are a series of elaborately ornamented ceramic stoves from the 16th and 17th centuries, made in Germany and Switzerland. There is an unrivalled collection of Italian maiolica and lustreware from Spain. The collection of Iznik pottery from Turkey is the largest in the world.


title: Victoria and Albert Museum

text: The glass collection covers 4000 years of glassmaking, and has over 6000 items from Africa, Britain, Europe, America and Asia. The earliest glassware on display comes from Ancient Egypt and continues through the Ancient Roman, Medieval, Renaissance covering areas such as Venetian glass and Bohemian glass and more recent periods, including Art Nouveau glass by Louis Comfort Tiffany and Émile Gallé, the Art Deco style is represented by several examples by René Lalique. There are many examples of crystal chandeliers, both English, displayed in the British galleries, and foreign – for example, a Venetian one attributed to Giuseppe Briati and dated to about 1750. The stained glass collection is possibly the finest in the world, covering the medieval to modern periods, and covering Europe as well as Britain. Several examples of English 16th-century heraldic glass is displayed in the British Galleries. Many well-known designers of stained glass are represented in the collection including, from the 19th century: Dante Gabriel Rossetti, Edward Burne-Jones and William Morris. There is also an example of Frank Lloyd Wright's work in the collection. 20th-century designers include Harry Clarke, John Piper, Patrick Reyntiens, Veronica Whall and Brian Clarke.


title: Victoria and Albert Museum

text: The main gallery was redesigned in 1994, the glass balustrade on the staircase and mezzanine are the work of Danny Lane, the gallery covering contemporary glass opened in 2004 and the sacred silver and stained-glass gallery in 2005. In this latter gallery stained glass is displayed alongside silverware starting in the 12th century and continuing to the present. Some of the most outstanding stained glass, dated 1243–1248 comes from the Sainte-Chapelle, is displayed along with other examples in the new Medieval & Renaissance galleries. The important 13th-century glass beaker known as the Luck of Edenhall is also displayed in these galleries. Examples of British stained glass are displayed in the British Galleries. One of the most spectacular items in the collection is the chandelier by Dale Chihuly in the rotunda at the museum's main entrance.


title: Victoria and Albert Museum

text: These galleries are dedicated to temporary exhibits showcasing both trends from recent decades and the latest in design and fashion.


title: Victoria and Albert Museum

text: Prints and drawings from the over 750,000 items in the collection can be seen on request at the print room, the "Prints and Drawings study Room"; booking an appointment is necessary. The collection of drawings includes over 10,000 British and 2,000 old master works, including works by: Dürer, Giovanni Benedetto Castiglione, Bernardo Buontalenti, Rembrandt, Antonio Verrio, Paul Sandby, John Russell, Angelica Kauffman, John Flaxman, Hugh Douglas Hamilton, Thomas Rowlandson, William Kilburn, Thomas Girtin, Jean-Auguste-Dominique Ingres, David Wilkie, John Martin, Samuel Palmer, Sir Edwin Henry Landseer, Lord Leighton, Sir Samuel Luke Fildes and Aubrey Beardsley. Modern British artists represented in the collection include: Paul Nash, Percy Wyndham Lewis, Eric Gill, Stanley Spencer, John Piper, Robert Priseman, Graham Sutherland, Lucian Freud and David Hockney.


title: Victoria and Albert Museum

text: The print collection has more than 500,000 items, covering: posters, greetings cards, bookplates, as well as a comprehensive collection of old master prints from the Renaissance to the present, including works by Rembrandt, William Hogarth, Giovanni Battista Piranesi, Canaletto, Karl Friedrich Schinkel, Henri Matisse and Sir William Nicholson.


title: Victoria and Albert Museum

text: The costume collection is the most comprehensive in Britain, containing over 14,000 outfits plus accessories, mainly dating from 1600 to the present. Costume sketches, design notebooks, and other works on paper are typically held by the Word and Image department. Because everyday clothing from previous eras has not generally survived, the collection is dominated by fashionable clothes made for special occasions. One of the first significant gifts of the costume came in 1913 when the V&A received the Talbot Hughes collection containing 1,442 costumes and items as a gift from Harrods following its display at the nearby department store.


title: Victoria and Albert Museum

text: Some of the oldest items in the collection are medieval vestments, especially Opus Anglicanum. One of the most important items in the collection is the wedding suit of James II of England, which is displayed in the British Galleries.


title: Victoria and Albert Museum

text: In 1971, Cecil Beaton curated an exhibition of 1,200 20th-century high-fashion garments and accessories, including gowns worn by leading socialites such as Patricia Lopez-Willshaw, Gloria Guinness and Lee Radziwill, and actresses such as Audrey Hepburn and Ruth Ford. After the exhibition, Beaton donated most of the exhibits to the museum in the names of their former owners.


title: Victoria and Albert Museum

text: In 1999, V&A began a series of live catwalk events at the museum titled "Fashion in Motion" featuring items from historically significant fashion collections. The first show featured Alexander McQueen in June 1999. Since then, the museum has hosted recreations of various designer shows every year including Anna Sui, Tristan Webber, Elspeth Gibson, Chunghie Lee, Jean Paul Gaultier, Missoni, Gianfranco Ferré, Christian Lacroix, Kenzo and Kansai Yamamoto amongst others.


title: Victoria and Albert Museum

text: In 2002, the museum acquired the Costiff collection of 178 Vivienne Westwood costumes. Other famous designers with work in the collection include Coco Chanel, Hubert de Givenchy, Christian Dior, Cristóbal Balenciaga, Yves Saint Laurent, Guy Laroche, Irene Galitzine, Mila Schön, Valentino Garavani, Norman Norell, Norman Hartnell, Zandra Rhodes, Hardy Amies, Mary Quant, Christian Lacroix, Jean Muir and Pierre Cardin. The museum continues to acquire examples of modern fashion to add to the collection.


title: Victoria and Albert Museum

text: The V&A runs an ongoing textile and dress conservation programme. For example, in 2008, an important but heavily soiled, distorted and water-damaged 1954 Dior outfit called 'Zemire' was restored to displayable condition for the "Golden Age of Couture" exhibition.


title: Victoria and Albert Museum

text: The V&A Museum has a large collection of shoes around 2000 pairs from different cultures around the world. The collection shows the chronological progression of shoe height, heel shape and materials, revealing just how many styles we consider to be modern have been in and out of fashion across the centuries.


title: Victoria and Albert Museum

text: In November 2012, the museum opened its first gallery to be exclusively dedicated to furniture. Prior to this date furniture had been exhibited as part of a greater period context, rather than in isolation to showcase its design and construction merits. Among the designers showcased in the new gallery are Ron Arad, John Henry Belter, Joe Colombo, Eileen Gray, Verner Panton, Thonet, and Frank Lloyd Wright.


title: Victoria and Albert Museum

text: The furniture collection, while covering Europe and America from the Middle Ages to the present, is predominantly British, dating between 1700 and 1900. Many of the finest examples are displayed in the British Galleries, including pieces by Chippendale, Adam, Morris, and Mackintosh. One of the oldest items is a chair leg from Middle Egypt dated to 200-395AD.


title: Victoria and Albert Museum

text: The Furniture and Woodwork collection also includes complete rooms, musical instruments, and clocks. Among the rooms owned by the museum are the Boudoir of Madame de Sévilly (Paris, 1781–82) by Claude Nicolas Ledoux, with painted panelling by Jean Simeon Rousseau de la Rottière; and Frank Lloyd Wright's Kaufmann Office, designed and constructed between 1934 and 1937 for the owner of a Pittsburgh department store.


title: Victoria and Albert Museum

text: The collection includes pieces by William Kent, Henry Flitcroft, Matthias Lock, James Stuart, William Chambers, John Gillow, James Wyatt, Thomas Hopper, Charles Heathcote Tatham, Pugin, William Burges, Charles Voysey, Charles Robert Ashbee, Baillie Scott, Edwin Lutyens, Edward Maufe, Wells Coates and Robin Day. The museum also hosts the national collection of wallpaper, which is looked after by the Prints, Drawings and Paintings department.


title: Victoria and Albert Museum

text: The Soulages collection of Italian and French Renaissance objects was acquired between 1859 and 1865, and includes several cassone. The John Jones Collection of French 18th-century art and furnishings was left to the museum in 1882, then valued at £250,000. One of the most important pieces in this collection is a marquetry commode by the "ébéniste" Jean Henri Riesener dated c1780. Other signed pieces of furniture in the collection include a bureau by Jean-François Oeben, a pair of pedestals with inlaid brass work by André Charles Boulle, a commode by Bernard Vanrisamburgh and a work-table by Martin Carlin. Other 18th-century ébénistes represented in the museum collection include Adam Weisweiler, David Roentgen, Gilles Joubert and Pierre Langlois. In 1901, Sir George Donaldson donated several pieces of art Nouveau furniture to the museum, which he had acquired the previous year at the Paris Exposition Universelle. This was criticised at the time, with the result that the museum ceased to collect contemporary items and did not do so again until the 1960s. In 1986 the Lady Abingdon collection of French Empire furniture was bequeathed by Mrs T. R. P. Hole.


title: Victoria and Albert Museum

text: There are a set of beautiful inlaid doors, dated 1580 from Antwerp City Hall, attributed to Hans Vredeman de Vries. One of the finest pieces of continental furniture in the collection is the Rococo Augustus Rex Bureau Cabinet dated c1750 from Germany, with especially fine marquetry and ormolu mounts. One of the grandest pieces of 19th-century furniture is the highly elaborate French Cabinet dated 1861–1867 made by M. Fourdinois, made from ebony inlaid with box, lime, holly, pear, walnut and mahogany woods as well as marble with gilded carvings. Furniture designed by Ernest Gimson, Edward William Godwin, Charles Voysey, Adolf Loos and Otto Wagner are among the late 19th-century and early 20th-century examples in the collection. The work of modernists in the collection include Le Corbusier, Marcel Breuer, Charles and Ray Eames, and Giò Ponti.


title: Victoria and Albert Museum

text: One of the oldest clocks in the collection is an astronomical clock of 1588 by Francis Nowe. One of the largest is James Markwick the younger's longcase clock of 1725, nearly 3 metres in height and japanned. Other clockmakers with work in the collection include: Thomas Tompion, Benjamin Lewis Vulliamy, John Ellicott and William Carpenter.


title: Victoria and Albert Museum

text: The museum's jewellery collection, containing over 6000 items is one of the finest and most comprehensive collections of jewellery in the world and includes works dating from Ancient Egypt to the present day, as well as jewellery designs on paper. The museum owns pieces by renowned jewellers Cartier, Jean Schlumberger, Peter Carl Fabergé, Andrew Grima, Hemmerle and Lalique. Other items in the collection include diamond dress ornaments made for Catherine the Great, bracelet clasps once belonging to Marie Antoinette, and the Beauharnais emerald necklace presented by Napoleon to his adopted daughter Hortense de Beauharnais in 1806. The museum also collects international modern jewellery by designers such as Gijs Bakker, Onno Boekhoudt, Peter Chang, Gerda Flockinger, Lucy Sarneel, Dorothea Prühl and Wendy Ramshaw, and African and Asian traditional jewellery. Major bequests include Reverend Chauncy Hare Townshend's collection of 154 gems bequeathed in 1869, Lady Cory's 1951 gift of major diamond jewellery from the 18th and 19th centuries, and jewellery scholar Dame Joan Evans' 1977 gift of more than 800 jewels dating from the Middle Ages to the early 19th century. A new jewellery gallery, funded by William and Judith Bollinger, opened on 24 May 2008.


title: Victoria and Albert Museum

text: This collection of more than 45,000 items covers decorative ironwork, both wrought and cast, bronze, silverware, arms and armour, pewter, brassware and enamels (including many examples Limoges enamel). The main iron work gallery was redesigned in 1995.


title: Victoria and Albert Museum

text: There are over 10,000 objects made from silver or gold in the collection, the display (about 15% of the collection) is divided into secular and sacred covering both Christian (Roman Catholic, Anglican and Greek Orthodox) and Jewish liturgical vessels and items. The main silver gallery is divided into these areas: British silver pre-1800; British silver 1800 to 1900; modernist to contemporary silver; European silver. The collection includes the earliest known piece of English silver with a dated hallmark, a silver gilt beaker dated 1496–1497.


title: Victoria and Albert Museum

text: Silversmiths whose work is represented in the collection include Paul Storr (whose Castlereagh Inkstand, dated 1817–1819, is one of his finest works) and Paul de Lamerie.


title: Victoria and Albert Museum

text: The main iron work gallery covers European wrought and cast iron from the medieval period to the early 20th century. The master of wrought ironwork Jean Tijou is represented by both examples of his work and designs on paper. One of the largest items is the Hereford Screen, weighing nearly 8 tonnes, 10.5 metres high and 11 metres wide, designed by Sir George Gilbert Scott in 1862 for the chancel in Hereford Cathedral, from which it was removed in 1967. It was made by Skidmore & Company. Its structure of timber and cast iron is embellished with wrought iron, burnished brass and copper. Much of the copper and ironwork is painted in a wide range of colours. The arches and columns are decorated with polished quartz and panels of mosaic.


title: Victoria and Albert Museum

text: One of the rarest items in the collection is the 58 cm-high Gloucester Candlestick, dated to c1110, made from gilt bronze; with highly elaborate and intricate intertwining branches containing small figures and inscriptions, it is a tour de force of bronze casting. Also of importance is the Becket Casket dated c1180 to contain relics of St Thomas Becket, made from gilt copper, with enamelled scenes of the saint's martyrdom. Another highlight is the 1351 Reichenau Crozier. The Burghley Nef, a salt-cellar, French, dated 1527–1528, uses a nautilus shell to form the hull of a vessel, which rests on the tail of a parcelgilt mermaid, who rests on a hexagonal gilt plinth on six claw-and-ball feet. Both masts have main and top-sails, and battlemented fighting-tops are made from gold. These items are displayed in the new Medieval & Renaissance galleries.


title: Victoria and Albert Museum

text: Musical instruments are classified as furniture by the museum, although Asian instruments are held by their relevant departments.


title: Victoria and Albert Museum

text: Among the more important instruments owned by the museum are a violin by Antonio Stradivari dated 1699, an oboe that belonged to Gioachino Rossini, and a jewelled spinet dated 1571 made by Annibale Rossi. The collection also includes a 1570 virginal said to have belonged to Elizabeth I, and late 19th-century pianos designed by Edward Burne-Jones, and Baillie Scott.


title: Victoria and Albert Museum

text: The Musical Instruments gallery closed on 25 February 2010, a decision which was highly controversial. An online petition of over 5,100 names on the Parliamentary website led to Chris Smith asking in Parliament about the future of the collection. The answer, from Bryan Davies, was that the museum intended to preserve and care for the collection and keep it available to the public, with items being redistributed to the British Galleries, the Medieval & Renaissance Galleries, and the planned new galleries for Furniture and Europe 1600–1800, and that the Horniman Museum and other institutions were possible candidates for loans of material to ensure that the instruments remained publicly viewable. The Horniman went on to host a joint exhibition with the V&A of musical instruments, and has the loan of 35 instruments from the museum.


title: Victoria and Albert Museum

text: The collection includes about 1130 British and 650 European oil paintings, 6800 British watercolours, pastels and 2000 miniatures, for which the museum holds the national collection. Also on loan to the museum, from Her Majesty the Queen Elizabeth II, are the Raphael Cartoons: the seven surviving (there were ten) full-scale designs for tapestries in the Sistine Chapel, of the lives of Peter and Paul from the Gospels and the Acts of the Apostles. There is also on display a fresco by Pietro Perugino, dated 1522, from the church of Castello at Fontignano (Perugia) which is amongst the painter's last works. One of the largest objects in the collection is the Spanish retable of St George, c. 1400, 670 x 486 cm, in tempera on wood, consisting of numerous scenes and painted by Andrés Marzal De Sax in Valencia.


title: Victoria and Albert Museum

text: 19th-century British artists are well represented. John Constable and J. M. W. Turner are represented by oil paintings, watercolours and drawings. One of the most unusual objects on display is Thomas Gainsborough's experimental showbox with its back-lit landscapes, which he painted on glass, which allowed them to be changed like slides. Other landscape painters with works on display include Philip James de Loutherbourg, Peter De Wint and John Ward.


title: Victoria and Albert Museum

text: In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of British Art', a role since taken on by Tate Britain; artists represented are William Blake, James Barry, Henry Fuseli, Sir Edwin Henry Landseer, Sir David Wilkie, William Mulready, William Powell Frith, Millais and Hippolyte Delaroche. Although some of Constable's works came to the museum with the Sheepshanks bequest, the majority of the artist's works were donated by his daughter Isabel in 1888, including the large number of sketches in oil, the most significant being the 1821 full size oil sketch for "The Hay Wain". Other artists with works in the collection include: Bernardino Fungai, Marcus Gheeraerts the Younger, Domenico di Pace Beccafumi, Fioravante Ferramola, Jan Brueghel the Elder, Anthony van Dyck, Ludovico Carracci, Antonio Verrio, Giovanni Battista Tiepolo, Domenico Tiepolo, Canaletto, Francis Hayman, Pompeo Batoni, Benjamin West, Paul Sandby, Richard Wilson, William Etty, Henry Fuseli, Sir Thomas Lawrence, James Barry, Francis Danby, Richard Parkes Bonington and Alphonse Legros.


title: Victoria and Albert Museum

text: Richard Ellison's collection of 100 British watercolours was given by his widow in 1860 and 1873 'to promote the foundation of the National Collection of Water-Color Paintings'. Over 500 British and European oil paintings, watercolours and miniatures and 3000 drawings and prints were bequeathed in 1868–1869 by the clergymen Chauncey Hare Townshend and Alexander Dyce.


title: Victoria and Albert Museum

text: Several French paintings entered the collection as part of the 260 paintings and miniatures (not all the works were French, for example Carlo Crivelli's "Virgin and Child") that formed part of the Jones bequest of 1882 and as such are displayed in the galleries of continental art 1600–1800, including the portrait of François, Duc d'Alençon by François Clouet, Gaspard Dughet and works by François Boucher including his portrait of Madame de Pompadour dated 1758, Jean François de Troy, Jean-Baptiste Pater and their contemporaries.


title: Victoria and Albert Museum

text: Another major Victorian benefactor was Constantine Alexander Ionides, who left 82 oil paintings to the museum in 1901, including works by Botticelli, Tintoretto, Adriaen Brouwer, Jean-Baptiste-Camille Corot, Gustave Courbet, Eugène Delacroix, Théodore Rousseau, Edgar Degas, Jean-François Millet, Dante Gabriel Rossetti, Edward Burne-Jones, plus watercolours and over a thousand drawings and prints


title: Victoria and Albert Museum

text: The Salting Bequest of 1909 included, among other works, watercolours by J. M. W. Turner. Other watercolourists include: William Gilpin, Thomas Rowlandson, William Blake, John Sell Cotman, Paul Sandby, William Mulready, Edward Lear, James Abbott McNeill Whistler and Paul Cézanne.


title: Victoria and Albert Museum

text: There is a copy of Raphael's "The School of Athens" over 4 metres by 8 metres in size, dated 1755 by Anton Raphael Mengs on display in the eastern Cast Court.


title: Victoria and Albert Museum

text: Miniaturists represented in the collection include Jean Bourdichon, Hans Holbein the Younger, Nicholas Hilliard, Isaac Oliver, Peter Oliver, Jean Petitot, Alexander Cooper, Samuel Cooper, Thomas Flatman, Rosalba Carriera, Christian Friedrich Zincke, George Engleheart, John Smart, Richard Cosway and William Charles Ross.


title: Victoria and Albert Museum

text: The collection contains more than 500,000 images dating from the advent of photography, the oldest image dating from 1839. The gallery displays a series of changing exhibits and closes between exhibitions to allow full re-display to take place. Already in 1858, when the museum was called the South Kensington Museum, it had the world's first international photographic exhibition.


title: Victoria and Albert Museum

text: The collection includes the work of many photographers from Fox Talbot, Julia Margaret Cameron, Viscountess Clementina Hawarden, Gustave Le Gray, Benjamin Brecknell Turner, Frederick Hollyer, Samuel Bourne, Roger Fenton, Man Ray, Henri Cartier-Bresson, Ilse Bing, Bill Brandt, Cecil Beaton (there are more than 8000 of his negatives), Don McCullin, David Bailey, Jim Lee and Helen Chadwick to the present day.


title: Victoria and Albert Museum

text: One of the more unusual collections is that of Eadweard Muybridge's photographs of Animal Locomotion of 1887, this consists of 781 plates. These sequences of photographs taken a fraction of a second apart capture images of different animals and humans performing various actions. There are several of John Thomson's 1876-7 images of Street Life in London in the collection. The museum also holds James Lafayette's society portraits, a collection of more than 600 photographs dating from the late 19th to early 20th centuries and portraying a wide range of society figures of the period, including bishops, generals, society ladies, Indian maharajas, Ethiopian rulers and other foreign leaders, actresses, people posing in their motor cars and a sequence of photographs recording the guests at the famous fancy-dress ball held at Devonshire House in 1897 to celebrate Queen Victoria's diamond jubilee.


title: Victoria and Albert Museum

text: In 2003 and 2007 Penelope Smail and Kathleen Moffat generously donated Curtis Moffat's extensive archive to the museum. He created dynamic abstract photographs, innovative colour still-lives and glamorous society portraits during the 1920s and 1930s. He was also a pivotal figure in Modernist interior design. In Paris during the 1920s, Moffat collaborated with Man Ray, producing portraits and abstract photograms or "rayographs".


title: Victoria and Albert Museum

text: The sculpture collection at the V&A is the most comprehensive holding of post-classical European sculpture in the world. There are approximately 22,000 objects in the collection that cover the period from about 400 AD to 1914. This covers among other periods Byzantine and Anglo Saxon ivory sculptures, British, French and Spanish medieval statues and carvings, the Renaissance, Baroque, Neo-Classical, Victorian and Art Nouveau periods. All uses of sculpture are represented, from tomb and memorial, to portrait, allegorical, religious, mythical, statues for gardens including fountains, as well as architectural decorations. Materials used include, marble, alabaster, stone, terracotta, wood (history of wood carving), ivory, gesso, plaster, bronze, lead and ceramics.


title: Victoria and Albert Museum

text: The collection of Italian, Medieval, Renaissance, Baroque and Neoclassical sculpture (both original and in cast form) is unequalled outside of Italy. It includes Canova's "The Three Graces", which the museum jointly owns with National Galleries of Scotland. Italian sculptors whose work is held by the museum include: Bartolomeo Bon, Bartolomeo Bellano, Luca della Robbia, Giovanni Pisano, Donatello, Agostino di Duccio, Andrea Riccio, Antonio Rossellino, Andrea del Verrocchio, Antonio Lombardo, Pier Jacopo Alari Bonacolsi, Andrea della Robbia, Michelozzo di Bartolomeo, Michelangelo (represented by a freehand wax model and casts of his most famous sculptures), Jacopo Sansovino, Alessandro Algardi, Antonio Calcagni, Benvenuto Cellini (Medusa's head dated c. 1547), Agostino Busti, Bartolomeo Ammannati, Giacomo della Porta, Giambologna (Samson Slaying a Philistine c. 1562, his finest work outside Italy), Bernini (Neptune and Triton c. 1622–3), Giovanni Battista Foggini, Vincenzo Foggini (Samson and the Philistines), Massimiliano Soldani Benzi, Antonio Corradini, Andrea Brustolon, Giovanni Battista Piranesi, Innocenzo Spinazzi, Canova, Carlo Marochetti and Raffaelle Monti. An unusual sculpture is the ancient Roman statue of Narcissus restored by Valerio Cioli c1564 with plaster. There are several small scale bronzes by Donatello such as "The Ascension with Christ giving the Keys to St Peter" and "Lamentation of Christ", Alessandro Vittoria, Tiziano Aspetti and Francesco Fanelli in the collection. The largest item from Italy is the Chancel Chapel from Santa Chiara Florence dated 1493–1500, designed by Giuliano da Sangallo it is 11.1 metres in height by 5.4 metres square, it includes a grand sculpted tabernacle by Antonio Rossellino and coloured terracotta decoration.


title: Victoria and Albert Museum

text: Rodin is represented by more than 20 works in the museum collection, making it one of the largest collections of the sculptor's work outside France; these were given to the museum by the sculptor in 1914, as acknowledgement of Britain's support of France in the First World War, although the statue of St John the Baptist had been purchased in 1902 by public subscription. Other French sculptors with work in the collection are Hubert Le Sueur, François Girardon, Michel Clodion, Jean-Antoine Houdon, Jean-Baptiste Carpeaux and Jules Dalou.


title: Victoria and Albert Museum

text: There are also several Renaissance works by Northern European sculptors in the collection including work by: Veit Stoss, Tilman Riemenschneider, Hendrick de Keyser, Jan van Schayck, Hans Daucher and Peter Flötner. Baroque works from the same area include the work of Adriaen de Vries and Sébastien Slodtz. The Spanish sculptors with work in the collection include Alonso Berruguete and Luisa Roldán represented by her "Virgin and Child with St Diego of Alcala" c. 1695.


title: Victoria and Albert Museum

text: Sculptors, both British and European, who were based in Britain and whose work is in the collection include Nicholas Stone, Caius Gabriel Cibber, Grinling Gibbons, John Michael Rysbrack, Louis-François Roubiliac, Peter Scheemakers, Sir Henry Cheere, Agostino Carlini, Thomas Banks, Joseph Nollekens, Joseph Wilton, John Flaxman, Sir Francis Chantrey, John Gibson, Edward Hodges Baily, Lord Leighton, Alfred Stevens, Thomas Brock, Alfred Gilbert, George Frampton, and Eric Gill. A sample of some of these sculptors' work is on display in the British Galleries.


title: Victoria and Albert Museum

text: With the opening of the Dorothy and Michael Hintze sculpture galleries in 2006 it was decided to extend the chronology of the works on display up to 1950; this has involved loans by other museums, including Tate Britain, so works by Henry Moore and Jacob Epstein along with other of their contemporaries are now on view. These galleries concentrate on works dated between 1600 and 1950 by British sculptors, works by continental sculptors who worked in Britain, and works bought by British patrons from the continental sculptors, such as Canova's "Theseus and the Minotaur". The galleries overlooking the garden are arranged by theme, tomb sculpture, portraiture, garden sculpture and mythology. Then there is a section that covers late 19th-century and early 20th-century sculpture, this includes work by Rodin and other French sculptors such as Dalou who spent several years in Britain where he taught sculpture.


title: Victoria and Albert Museum

text: Smaller-scale works are displayed in the Gilbert Bayes gallery, covering medieval especially English alabaster sculpture, bronzes, wooden sculptures and has demonstrations of various techniques such as bronze casting using lost-wax casting.


title: Victoria and Albert Museum

text: The majority of the Medieval and Renaissance sculpture is displayed in the new Medieval and Renaissance galleries (opened December 2009).


title: Victoria and Albert Museum

text: One of the largest objects in the collection is the rood loft from St. John's Cathedral ('s-Hertogenbosch), from the Netherlands, dated 1610–1613 this is as much a work of architecture as sculpture, 10.4 metres wide, 7.8 metres high, the architectural framework is of various coloured marbles including columns, arches and balustrade, against which are statues and bas-reliefs and other carvings in alabaster, the work of sculptor Conrad van Norenberch.


title: Victoria and Albert Museum

text: The collection of textiles consists of more than 53,000 examples, mainly western European though all populated continents are represented, dating from the 1st century AD to the present, this is the largest such collection in the world. Techniques represented include weaving, printing, quilting embroidery, lace, tapestry and carpets. These are classified by technique, countries of origin and date of production. The collections are well represented in these areas: early silks from the Near East, lace, European tapestries and English medieval church embroidery.


title: Victoria and Albert Museum

text: The tapestry collection includes a fragment of the Cloth of St Gereon, the oldest known surviving European tapestry. A highlight of the collection is the four Devonshire Hunting Tapestries, very rare 15th-century tapestries, woven in the Netherlands, depicting the hunting of various animals; not just their age but their size make these unique. Both of the major English centres of tapestry weaving of the 16th and 17th centuries respectively, Sheldon & Mortlake are represented in the collection by several examples. Also included are tapestries from John Vanderbank's workshop which was the leading English tapestry manufactory in the late 17th century and early 18th century. Some of the finest tapestries are examples from the Gobelins workshop, including a set of 'Jason and the Argonauts' dating from the 1750s. Other continental centres of tapestry weaving with work in the collection include Brussels, Tournai, Beauvais, Strasbourg and Florence.


title: Victoria and Albert Museum

text: One of the earliest surviving examples of European quilting, the late 14th-century Sicilian Tristan Quilt, is also held by the collection. The collection has numerous examples of various types of textiles designed by William Morris, including, embroidery, woven fabrics, tapestries (including "The Forest" tapestry of 1887), rugs and carpets, as well as pattern books and paper designs. The art deco period is covered by rugs and fabrics designed by Marion Dorn. From the same period there is a rug designed by Serge Chermayeff.


title: Victoria and Albert Museum

text: The collection also includes the Oxburgh Hangings, which were made by Mary, Queen of Scots and Bess of Hardwick. However, the Oxburgh Hangings are on permanent long-term loan at Oxburgh Hall.


title: Victoria and Albert Museum

text: The V&A holds the national collection of performing arts in the UK, including drama, dance, opera, circus, puppetry, comedy, musical theatre, costume, set design, pantomime, popular music and other forms of live entertainment.


title: Victoria and Albert Museum

text: The Theatre & Performance collections were founded in the 1920s when private collector, Gabrielle Enthoven, donated her collection of theatrical memorabilia to the V&A. In 1974 two further independent collections were compiled to form a comprehensive performing arts collection at the V&A. The collections were displayed at the Theatre Museum, which operated from Covent Garden until closing in 2007. Theatre & Performance galleries opened at South Kensington in March 2009 tracing the production process of performance and include a temporary exhibition space. Types of items displayed include costumes, set models, wigs, prompt books, and posters.


title: Victoria and Albert Museum

text: The department holds significant archives documenting current practice and the history of performing arts. These include the English Stage Company at the Royal Court Theatre, D'Oyly Carte and the design collection of the Arts Council. Notable personal archives include Vivien Leigh, Peter Brook, Henry Irving and Ivor Novello.


title: Victoria and Albert Museum

text: Rock and pop are well represented with the Glastonbury Festival archive, Harry Hammond photographic collection and Jamie Reid archive documenting punk. Costumes include those worn by John Lennon, Mick Jagger, Elton John, Adam Ant, Chris Martin, Iggy Pop, Prince, Shirley Bassey and the stage outfit worn by Roger Daltrey at Woodstock.


title: Victoria and Albert Museum

text: The education department has wide-ranging responsibilities. It provides information for the casual visitor as well as for school groups, including integrating learning in the museum with the National Curriculum; it provides research facilities for students at degree level and beyond, with information and access to the collections. It also oversees the content of the museum's website in addition to publishing books and papers on the collections, research and other aspects of the museum.


title: Victoria and Albert Museum

text: Several areas of the collection have dedicated study rooms, these allow access to items in the collection that are not currently on display, but in some cases require an appointment to be made.


title: Victoria and Albert Museum

text: The new Sackler education suite, occupying the two lower floors of the Henry Cole Wing opened in September 2008. This includes lecture rooms and areas for use by schools, which will be available during school holidays for use by families, and will enable direct handling of items from the collection.


title: Victoria and Albert Museum

text: V&A Publishing, within the education department, works to raise funds for the museum by publishing around 30 books and digital items each year. The company has around 180 books in print.


title: Victoria and Albert Museum

text: Activity backpacks are available for children. These are free to borrow and include hands-on activities such as puzzles, construction games and stories related to themes of the museum.


title: Victoria and Albert Museum

text: The Learning Academy offers adult courses as well as training for professionals in the culture and heritage sector, both nationally and internationally. We also have great facilities in which to teach, study and get closer to our collections. Learning Activity


title: Victoria and Albert Museum

text: Research is a very important area of the museum's work, and includes: identification and interpretation of individual objects; other studies contribute to systematic research, this develops the public understanding of the art and artefacts of many of the great cultures of the world; visitor research and evaluation to discover the needs of visitors and their experiences of the museum. Since 1990, the museum has published research reports; these focus on all areas of the collections.


title: Victoria and Albert Museum

text: Conservation is responsible for the long-term preservation of the collections, and covers all the collections held by the V&A and the V&A Museum of Childhood. The conservators specialise in particular areas of conservation. Areas covered by the conservator's work include "preventive" conservation this includes: performing surveys, assessments and providing advice on the handling of items, correct packaging, mounting and handling procedures during movement and display to reduce risk of damaging objects. Activities include controlling the museum environment (for example, temperature and light) and preventing pests (primarily insects) from damaging artefacts. The other major category is "interventive" conservation, this includes: cleaning and reintegration to strengthen fragile objects, reveal original surface decoration, and restore shape. Interventive treatment makes an object more stable, but also more attractive and comprehensible to the viewer. It is usually undertaken on items that are to go on public display.


title: Victoria and Albert Museum

text: The National Art Library merged with the Prints, Paintings and Drawings department to form the Word and Image Department, which serves curatorial staff of the museum. The library and its reading rooms are located on the second floor of the V&A, though some collections, particularly Archives, are held off-site.


title: Victoria and Albert Museum

text: The V&A works with a small number of partner organisations in Sheffield, Dundee and Blackpool to provide a regional presence.


title: Victoria and Albert Museum

text: The V&A discussed with the University of Dundee, University of Abertay, Dundee City Council and the Scottish Government in 2007 with a view to opening a new £43 million gallery in Dundee, which would use the V&A brand although it would be funded through and operated independently. Costs was estimated at £76 million in 2015, making it the most expensive gallery project ever undertaken in Scotland. V&A Dundee opened on 15 September 2018. Dundee City Council pays for a major part of the running costs. The V&A does not contribute financially, but it provides expertise, loans and exhibitions.


title: Victoria and Albert Museum

text: Plans for a new gallery in Blackpool are also under consideration. This follows earlier plans to move the theatre collection to a new £60m museum in Blackpool, which failed due to lack of funding. The V&A exhibits twice a year at the Millennium Galleries in partnership with Museums Sheffield.


title: Victoria and Albert Museum

text: The V&A is one of 17 museums across Europe and the Mediterranean participating in a project called "Discover Islamic Art". Developed by the Brussels-based consortium Museum With No Frontiers, this online "virtual museum" brings together more than 1200 works of Islamic art and architecture into a single database. In 2009, the V&A established an art award, the Jameel Prize, for " contemporary art and design inspired by Islamic tradition" in partnership with Art Jameel.


title: Victoria and Albert Museum

text: The museum is a non-departmental public body sponsored by the Department for Digital, Culture, Media and Sport. As with other national British museums, entrance is free.


title: Victoria and Albert Museum

text: The V&A has large galleries devoted to temporary exhibitions. A typical year will see more than a dozen different exhibitions being staged, covering all areas of the collections. Notable exhibitions of recent years have been:


title: Victoria and Albert Museum

text: The V&A came second in London's top paid exhibitions in 2015 with the record-breaking Alexander McQueen show (3,472 a day).


title: Victoria and Albert Museum

text: In November 2019 the art photographer Nan Goldin led a "die-in" in the Sackler courtyard entrance of the museum, in protest against the V&A's acceptance of donations from the Sackler family, which owned Purdue Pharma, makers of the addictive opioid painkiller OxyContin. The museum's director, Tristram Hunt, defended the museum's relationship with the Sacklers, saying it was proud to have received support from the family over a number of years.


title: Victoria and Albert Museum

text: Also in 2019, the V&A received sponsorship for an exhibition on cars from Bosch, which had been fined 90 million euro over its part in the diesel emissions scandal. A V&A spokeswoman said: “Bosch is at the forefront of innovation, with a focus on delivering sustainable solutions for the mobility of the future.


title: Victoria and Albert Museum

text: Extinction Rebellion staged a dirty protest outside the V&A Dundee, in protest against Barclays Bank's sponsorship of the museum's Mary Quant exhibition.


title: Victoria and Albert Museum

text: In 2021 plans to cut the museum's costs by reorganising its collections by date rather than by material were abandoned after critics said it would lead to staff cuts and thereby a loss of expertise.


title: Victoria and Albert Museum

text: Starting in March 2020, BBC Two transmitted a series of six programmes depicting the back-stage work of the curators and restorers of the museum, entitled "Secrets of the Museum".


title: Millennium Stadium

text: The Millennium Stadium (), known since 2016 as the Principality Stadium () for sponsorship reasons, is the national stadium of Wales. Located in Cardiff, it is the home of the Wales national rugby union team and has also held Wales national football team games. Initially built to host the 1999 Rugby World Cup, it has gone on to host many other large-scale events, such as the Tsunami Relief Cardiff concert, the Super Special Stage of Wales Rally Great Britain, the Speedway Grand Prix of Great Britain and various concerts. It also hosted FA Cup, League Cup and Football League play-off finals while Wembley Stadium was being redeveloped between 2001 and 2006, as well as football matches during the 2012 Summer Olympics.


title: Millennium Stadium

text: The stadium is owned by Millennium Stadium plc, a subsidiary company of the Welsh Rugby Union (WRU). The architects were Bligh Lobb Sports Architecture. The structural engineers were WS Atkins and the building contractor was Laing. The total construction cost of the stadium was £121 million, of which the Millennium Commission funded £46 million.


title: Millennium Stadium

text: The Millennium Stadium opened in June 1999 and its first major event was an international rugby union match on 26 June 1999, when Wales beat South Africa in a test match by 29–19 before a crowd of 29,000. With a total seating capacity of 73,931, it is the largest stadium in Wales and the fourth largest (and second largest outside London) in the United Kingdom by total capacity. In addition, it is the third-largest stadium in the Six Nations Championship behind the Stade de France and Twickenham. It is also the second-largest stadium in the world with a fully retractable roof and was the second stadium in Europe to have this feature. Listed as a category four stadium by UEFA, the stadium was chosen as the venue for the 2017 UEFA Champions League Final, which took place on 3 June 2017. In 2015, the Welsh Rugby Union announced a 10-year sponsorship deal with the Principality Building Society that saw the stadium renamed as the "Principality Stadium" from early 2016.


title: Millennium Stadium

text: Until 1969, Cardiff RFC and Wales both played their home matches on the same pitch at Cardiff Arms Park, but all this changed in the 1969–70 season. As a result of an agreement between Cardiff Athletic Club and the WRU, the National Stadium project established that a new stadium for international matches and events was required, with Cardiff RFC moving to a new, purpose-built stadium on the original cricket ground at the site of the former Cardiff Arms Park stadium. By 7 April 1984 the National Stadium was officially opened. However, in 1994, a committee was set up to consider redeveloping the National Stadium, and by 1995 the WRU had been chosen to host the 1999 Rugby World Cup.


title: Millennium Stadium

text: In 1995, the National Stadium, which was designed in 1962, only had a capacity of 53,000; other nations' stadia, such as Twickenham (England) with a capacity of 75,000, and Murrayfield Stadium (Scotland) with a capacity of 67,000, had overtaken it. France was also about to build the Stade de France, which would have a capacity of more than 80,000 for the 1998 FIFA World Cup. The original capacity of the National Stadium was 65,000, but this had been reduced to 53,000, due to the Taylor Report. 11,000 of 53,000 capacity was on the East Terrace and the conversion to an all-seater stadium would have reduced the stadium capacity still further to just 47,500.


title: Millennium Stadium

text: In addition to the problems of capacity, the National Stadium was also very well hidden by the neighbouring buildings to the south in Park Street, Wood Street and to the east in Westgate Street, and also by Cardiff Rugby Ground in the north. It was only fully visible from across the River Taff in the west. Access to the ground was also very restricted with the main entrance being a narrow opening in Westgate Street to the east which was shared by both vehicles and spectators alike.


title: Millennium Stadium

text: The options for the new stadium included adding a third tier to the existing National Stadium, or moving to a new site. This last option was discounted because it would have required a vast car parking facility, and that would have put severe short-term pressures on the local transport infrastructure, creating traffic jams and pollution. The committee eventually chose a new stadium on the same site but with considerable increase in its capacity. It would also involve moving the alignment of the stadium from west–east to north–south. This was the option supported by the Millennium Commission. It would become the fourth redevelopment of the Cardiff Arms Park site. It was also decided that the new stadium should have a sliding roof to accommodate a multi-use venue, with a grass pitch for rugby and football. The only other sliding roofs in Europe at the time were at two Dutch stadia – the Amsterdam Arena, completed in 1996 with a capacity of 50,000; and Gelredome in Arnhem, a 30,000-capacity ground built from 1996 to 1998.


title: Millennium Stadium

text: To remain on the Arms Park site, additional space had to be found to allow safe access and to provide room for the increased capacity and improved facilities. This was achieved by the purchase of adjacent buildings to the south and east and by the construction of a new £6 million River Walk by the River Taff on the western side of the stadium.


title: Millennium Stadium

text: By 1999, the Millennium Stadium had replaced the National Stadium, Cardiff Arms Park, as the national stadium of Wales for rugby union and association football international matches. Cardiff RFC continued as before to play at Cardiff Arms Park rugby ground, which had replaced the cricket ground in 1969.


title: Millennium Stadium

text: The stadium was designed by a team led by Rod Sheard at Lobb Sport Architecture, who later merged with HOK Sport to become Populous. The building contractor was Laing and the structural engineers were WS Atkins. Mike Otlet of WS Atkins designed the stadium's retractable roof, which was constructed by Kelsey Roofing Industries. Cimolai S.p.A. from Italy fabricated and erected the 72 steel plane frames for the stands and all the 4,500 components of the roof.


title: Millennium Stadium

text: Construction involved the demolition of a number of buildings, primarily the existing National Stadium (Cardiff Arms Park), Wales Empire Pool (swimming pool) in Wood Street, Cardiff Empire Telephone Exchange building (owned by BT) in Park Street, the newly built Territorial Auxiliary & Volunteer Reserve building in Park Street, and the Social Security offices in Westgate Street.


title: Millennium Stadium

text: The stadium was built by Laing in 1999 on the site of the National Stadium, with the head of construction being Steve Ager. It was built for the 1999 Rugby World Cup, for which Wales was the main host, with seven of the 41 matches, including the final, being played at the stadium.


title: Millennium Stadium

text: The total construction cost of the stadium was £121 million, which was funded by private investment and £46 million of public funds from the Millennium Commission, the sale of debentures to supporters (which offered guaranteed tickets in exchange for an interest-free loan) and loans. The development left the WRU heavily in debt.


title: Millennium Stadium

text: The Millennium Stadium was named as such in recognition of the Millennium Commission's contribution to the building.


title: Millennium Stadium

text: The stadium was first used for a major event on 26 June 1999, when Wales played South Africa in a rugby union test match before a crowd of 29,000. Wales won 29–19: the first time they had ever beaten the Springboks.


title: Millennium Stadium

text: On 8 September 2015 it was announced that the Millennium Stadium would be renamed Principality Stadium as the result of a 10-year naming rights deal with the Principality Building Society. Some fans expressed opposition on social media.


title: Millennium Stadium

text: On 22 January 2016, the Millennium Stadium was officially renamed as the Principality Stadium. The new name, written bilingually ("Stadiwm Principality Stadium") and covering of the upper stadium, was lit up at a special evening ceremony, to be followed by a festival to encourage grassroots rugby. The change of name also meant a change of logo for the Millennium Stadium. There were three designs shortlisted, and a panel, which included the former Wales international captain Ryan Jones and staff and members of the WRU and Principality Building Society, chose the final design. A spokesperson for the WRU said: "The new stadium logo takes its inspiration from the venue's iconic architecture; four spires, curved frontage and fully retractable roof."


title: Millennium Stadium

text: The all-seater stadium has the capacity for 74,500 supporters and features a retractable roof, only the second stadium of its type in Europe, and the largest football stadium in the world with this feature, by capacity. Additional seating is sometimes added for special events such as a rugby Test against the New Zealand All Blacks, or for the FA Cup Final. The current record attendance is set at just over 78,000, recorded at the Anthony Joshua v Carlos Takam fight, on 28 October 2017, in which Joshua successfully retained his WBA, IBF and IBO titles.


title: Millennium Stadium

text: The natural grass turf was made up of a modular system installed by GreenTech ITM. It features built in irrigation and drainage. The pitch itself was laid on top of some 7,412 pallets that could be moved so the stadium could be used for concerts, exhibitions and other events.


title: Millennium Stadium

text: In May 2014, after much trouble with disease and stability, the surface was removed and replaced with a more resilient interwoven sand based Desso pitch.


title: Millennium Stadium

text: The four ends of the ground are called the North Stand, the West Stand, the South Stand and the BT Stand (east). The South Stand was previously known as the Hyder Stand, until Hyder was sold. The stadium has three tiers of seating with the exception of the North Stand, which has two tiers. The lower tier holds approximately 23,500 spectators, the middle tier holding 18,000 and the upper tier holding 33,000 spectators.


title: Millennium Stadium

text: The stadium was slightly restricted in size due to its proximity to Cardiff Rugby Club's home in the adjacent smaller stadium within Cardiff Arms Park. The WRU were unable to secure enough funding to include the North Stand in the new stadium and the Millennium Commission would not allow any of its funds to be used in any way for the construction of a new stadium for Cardiff RFC. The WRU held talks with Cardiff RFC to see if it would be possible for the club to either move or secure funding for the Cardiff Arms Park to be re-developed, but these were unsuccessful. The stadium thus had to be completed with a break in its bowl structure in the North Stand, known colloquially as the Cardiff fault or Glanmor's Gap, after Glanmor Griffiths, then chairman of the WRU and now a former president.


title: Millennium Stadium

text: The superstructure of the stadium is based around four masts. The stadium was built from 56,000 tonnes of concrete and steel, and has 124 hospitality suites and 7 hospitality lounges, 22 bars, 7 restaurants, 17 first aid points, 12 escalators and 7 lifts. The stadium has 7 gates for access to the site; Gate 1 is from the River Walk via Castle Street (to the north), Gates 2 and 3 are via Westgate Street (to the east), Gate 4 is for Security only also via Westgate Street, Gate 5 is via Park Street (to the south) and Gates 6 and 7 are via the Millennium Plaza (also to the south).


title: Millennium Stadium

text: Any future renovation to the stadium will involve replacing the old North Stand of the former National Stadium with a new one similar to the three existing stands of the new Millennium Stadium. This will make the stadium bowl-shaped and will increase its capacity to around 80,000. It will resolve the existing problems of deteriorating concrete quality on the old structure in the north stand. However the WRU has been more resistant to the proposal in recent years, stating that the concrete has not been deteriorating in recent years meaning the cost of replacing Glanmor's Gap would not justify the limited increase in capacity it would provide.


title: Millennium Stadium

text: In each of the stadium's bars, so-called "joy machines" can pour 12 pints in less than 20 seconds. During a Wales versus France match, 63,000 fans drank 77,184 pints of beer, almost double the 44,000 pints drunk by a similar number of fans at a game at Twickenham. The stadium has a resident hawk named "Dad", who is employed to drive seagulls and pigeons out of the stadium.


title: Millennium Stadium

text: In 2005 the stadium installed an "Arena Partition Drape System" – a black curtain made up of 12 drapes measuring – to vary the audience from a capacity of over 73,000 down to between 12,000 and 46,000, depending on the four different positions that it can be hung. The curtains can be stored in the roof of the stadium when not in use. The £1 million cost of the curtain was funded by the stadium, the Millennium Commission, its caterers Letherby and Christopher (Compass Group) and by the then Wales Tourist Board. The curtain was supplied by Blackout.


title: Millennium Stadium

text: In May 2015, the chairman of the WRU, Gareth Davies, announced that the stadium would be fitted with new seats, replacing the original seats from 1999 at a cost of £4 million to £5 million, which would be completed by 2018. In addition a new £3.1 million Desso hybrid pitch will be installed.


title: Millennium Stadium

text: In February 2019, the stadium increased its disabled capacity from 168 to 214 at a cost of around £100,000. As a result, the overall capacity of the stadium was reduced from 74,500 to 73,931.


title: Millennium Stadium

text: A statue of Sir Tasker Watkins, the former WRU president between 1993 and 2004, was commissioned to stand outside Gate 3 of the stadium. The bronze statue, tall, was sculpted by Llantwit Major based sculptor Roger Andrews. The Welsh Government contributed £50,000, as did Cardiff Council. It was officially unveiled on 15 November 2009 by his daughter, Lady Mair Griffith-Williams.


title: Millennium Stadium

text: As well as international rugby union and association football, the Millennium Stadium has hosted a variety of sports, including, rugby league (including the Challenge Cup Final on three occasions between 2003 and 2005, the opening ceremony of the 2013 Rugby League World Cup and Welsh Rugby League internationals), speedway, boxing, the Wales Rally Great Britain stage of the World Rally Championship, Monster Jam and indoor cricket. The indoor cricket match between The Brits and a Rest of the World team for the Pertemps Power Cricket Cup, which took place on 4 and 5 October 2002.


title: Millennium Stadium

text: The stadium is the home of the Welsh rugby union team, who play all of their home fixtures at the venue. These games include those during the Six Nations, as well as the Autumn Internationals against nations from the Southern Hemisphere. Apart from the national team, the stadium has also hosted Heineken Cup finals on five occasions. In total, the site, including the National Stadium, has hosted the final of the Heineken Cup on seven occasions.


title: Millennium Stadium

text: The stadium has also been used for Celtic League games, and the semi-finals of the Anglo-Welsh Cup in 2006 and 2007. Since 2013, the Millennium Stadium has hosted Judgement Day, a double-header between the four Welsh Pro12 teams. The 2015 edition had 52,762 spectators, the highest in the history of the league.


title: Millennium Stadium

text: The stadium hosted the first match in the 2005 British & Irish Lions tour to New Zealand when they drew 25–25 against Argentina in a warm-up test match.


title: Millennium Stadium

text: On 30 March 2011, the stadium hosted the Welsh Varsity rugby match for the first time in the history of the match between the senior teams of Cardiff University and Swansea University. The stadium is used alternating years with Liberty Stadium in Swansea. The Welsh Varsity event celebrated its 20th anniversary in 2016.


title: Millennium Stadium

text: The Welsh Rugby Union hosted the 1999 Rugby World Cup with the Final being played at the stadium. The stadium also hosted 3 pool matches and 1 quarter-final match (New Zealand 18–20 France) of the 2007 Rugby World Cup.


title: Millennium Stadium

text: On 15 October 2011, the stadium was open to Welsh Rugby Union fans free of charge, providing that they wear red so that they could watch a live screening of the 2011 Rugby World Cup semi-final between Wales and France that was played at Eden Park, Auckland, New Zealand. The match was screened on the stadium's existing large screens, on all of their television screens and on a screen that was brought in for the occasion. The same was done for the Bronze Final between Wales and Australia which saw Wales defeated and take fourth place.


title: Millennium Stadium

text: The stadium hosted six pool matches, including two featuring Wales, and two quarter-final matches during the 2015 Rugby World Cup.


title: Millennium Stadium

text: The stadium first hosted rugby league football during the 2000 World Cup: a double header featuring Cook Islands versus Lebanon and Wales versus New Zealand that attracted a crowd of 17,612. It was again used as Wales' home ground during the 2002 New Zealand rugby league tour of Great Britain and France when they again hosted the Kiwis this time attracting 8,746 spectators.


title: Millennium Stadium

text: The Stadium has hosted three Challenge Cup Finals, which are usually played at Wembley, from 2003 to 2005. In 2003 the Bradford Bulls defeated the Leeds Rhinos 22–20 in front of 71,212 fans. St. Helens defeated Wigan 36–16 in 2004 in front of 73,734 fans, while Hull F.C. defeated Leeds 25–24 in 2005 in front of 74,213 fans, the largest rugby league crowd at the stadium.


title: Millennium Stadium

text: Also, in 2007 the stadium hosted the inaugural Millennium Magic weekend. This was a two-day event in May when an entire round of Super League matches were played, three games on the Saturday and three games on the Sunday. The event was deemed a success by the sport's governing body, the RFL, and second Millennium Magic event took place in May 2008, although the 2009 and 2010 events were held at Murrayfield Stadium and were renamed Magic Weekend. In 2011, Magic Weekend moved back to Cardiff with the opening round of Super League being played.


title: Millennium Stadium

text: On 26 October 2013, the Millennium Stadium hosted the opening ceremony and the first two fixtures of the 2013 Rugby League World Cup: a double-header featuring Wales against Italy and England against title favourites and eventual tournament champions Australia. This double header produced an overall attendance of 45,052, which is an international rugby league record at the stadium.


title: Millennium Stadium

text: From 2000 to 2009, the stadium was the almost-permanent home of Welsh football. The national team played the vast majority of home matches at the Millennium Stadium, with a handful of friendly matches once or twice a year at the Racecourse Ground, Wrexham or Liberty Stadium, Swansea. The first Welsh football game at the stadium was played against Finland in 2000, and drew a then-record home crowd for Welsh football of over 66,000. This has since been beaten on several occasions. However, since 2010, the majority of home games have been played at the smaller Cardiff City Stadium, the home of Cardiff City. Wales have only played at the stadium twice since 2009; in 2011 against England and in 2018 against Spain.


title: Millennium Stadium

text: While the Millennium Stadium was under construction, the original Wembley Stadium had hosted the Welsh rugby team during the building of the new ground. The favour was returned from 2001 while the new Wembley Stadium was being built, with the Millennium hosting:


title: Millennium Stadium

text: The stadium became notorious for an apparent "away team hoodoo"; the first 11 major cup finals were all won by the teams occupying the home dressing room. Stoke City beat Brentford 2–0 in 2002 to end the "hoodoo", after Paul Darby carried out a feng shui blessing.


title: Millennium Stadium

text: Liverpool were the first team to win the FA Cup at the Millennium Stadium in 2001 after beating Arsenal 2–1. They were also the first team to win the League Cup at the Stadium, defeating Birmingham City in a penalty shoot-out earlier that year. In 2003, Liverpool won the League Cup for the seventh time in their history thanks to a 2–0 win over Manchester United in the final at the stadium. Liverpool also won the last FA Cup Final at the Millennium Stadium in 2006, beating West Ham United 3–1 in a penalty shoot-out that followed a 3–3 draw after extra time in what was billed as 'the best cup final of the modern era'.


title: Millennium Stadium

text: The Football League Third Division play-offs in 2003 saw AFC Bournemouth beat Lincoln City 5–2. In this game, Bournemouth set a new record for the most goals scored by one team in a single match at the stadium. This record has since been matched but not beaten. The last domestic cup match played was when Doncaster Rovers beat Bristol Rovers 3–2 after extra time in the Football League Trophy Final on 1 April 2007.


title: Millennium Stadium

text: In 2001, the Football Association of Wales (FAW) confirmed that they had bid to host the 2003 UEFA Champions League Final. The stadium had recently been rated as a five-star stadium by UEFA, making it one of the favourites to host the match, but the final was eventually awarded to Old Trafford, the home of Manchester United.


title: Millennium Stadium

text: It was suggested that the stadium would have been one of the venues of a proposed UEFA Euro 2016 championship hosted jointly by Wales and Scotland. However, the bid did not reach the formal UEFA selection stage, having been abandoned by the Welsh and Scottish Football Associations for financial reasons. In April 2014, the FAW did submit a formal bid to host three group matches and either a round of 16 match or a quarter-final at Euro 2020, which UEFA planned to host at 13 venues across Europe. When the host venues were voted on in September 2014, the Millennium Stadium lost out by a single vote behind Glasgow's Hampden Park, a decision that FAW chief executive Jonathan Ford put down to UEFA politics. On 30 June 2015, the Millennium Stadium was chosen as the venue for the 2017 UEFA Champions League Final. UEFA rules meant it could not be branded as the Principality Stadium during the event, resulting in all titles and logos – as well as those of other non-UEFA sponsors – being covered or removed for the duration. The game was played on 3 June 2017 between Italian club Juventus and Spanish club Real Madrid, in a repeat of the 1998 final; Real Madrid won the match 4–1.


title: Millennium Stadium

text: When London was selected as the host city for the 2012 Summer Olympics, the Millennium Stadium was named as one of the six venues for the football competition. It had the distinction of hosting the opening event of the Games – a 1–0 win for the Great Britain women's team against New Zealand – as well as four other group games and a quarter-final in the women's tournament, and three group games, a quarter-final and the bronze medal match in the men's.


title: Millennium Stadium

text: On 8 July 2006 when Matt Skelton beat Danny Williams for the Commonwealth heavyweight title. On 7 April 2007, Joe Calzaghe beat Peter Manfredo to retain his WBO super middleweight belt. On 3 November 2007, Calzaghe beat Mikkel Kessler to retain his WBO super middleweight belt and win the WBA and WBC super middleweight titles.


title: Millennium Stadium

text: On 28 October 2017 Anthony Joshua successfully retained his WBA (Super), IBF and IBO heavyweight titles against mandatory challenger Carlos Takam with a 10th round stoppage.


title: Millennium Stadium

text: On 31 March 2018, it hosted the World heavyweight unification fight between Anthony Joshua, holder of the WBA and IBF belts, and Joseph Parker, holder of the WBO belt. Joshua beat Parker on points.


title: Millennium Stadium

text: In 2001, it staged its first ever motorsport event, hosting the Speedway Grand Prix of Great Britain, and has done so every year since, attracting a record crowd of 44,150 in 2010. The temporary motorcycle speedway track is in length and with sections of the stadiums lower seating bowl covered, the capacity of the stadium for the Grand Prix is set at 62,500.


title: Millennium Stadium

text: In September 2005 the stadium was host to the first ever indoor stage of the World Rally Championship during the Wales Rally Great Britain. The lower tier of the stadium was removed to create a figure-of-eight course. In addition to this, the stadium has also hosted Supercross events. In October 2007, the stadium first hosted the UK leg of the Monster Jam trucks Europe tour, and returned in June 2008, again in 2009, 2010, 2016, 2018 and 2019.


title: Millennium Stadium

text: The stadium has been used on numerous occasions as a venue for shooting film and television productions. Scenes from the 2001 Hindi film "Kabhi Khushi Kabhie Gham..." were filmed there.


title: Millennium Stadium

text: Between 2004 and 2011, the stadium was used several times as a filming location for episodes of the BBC science fiction television series "Doctor Who". The 2005 episode "Dalek" was shot primarily on location at the stadium, using its underground areas to represent a bunker in Utah, US, in the year 2012. The location shooting for the episode took place during October and November 2004. The underground areas of the stadium were used again in August 2005 to film Mission Control scenes for the "Doctor Who" Christmas special, "The Christmas Invasion", and again the following year to film scenes in the underground corridors of Torchwood in "The Runaway Bride" episode, broadcast on Christmas Day 2006. Shots of the Stormcage Facility in which River Song is incarcerated in series 5 and 6 of "Doctor Who" are also in the stadium, filmed between October 2010 and January 2011.


title: Millennium Stadium

text: The stadium has also been used as a location for the filming of Doctor Who spin-off The Sarah Jane Adventures. The 2010 story, "Death of the Doctor", included corridor scenes for the UNIT headquarters that were filmed underground at the Millennium Stadium.


title: Millennium Stadium

text: The Wembley Stadium scene in the film "28 Weeks Later" was actually filmed at the Millennium Stadium. Although the outside is footage of Wembley, the inside is all filmed in Cardiff. The visual effects team on the film edited the footage to make it look more like Wembley.


title: Millennium Stadium

text: Sébastien Foucan jumped over the gap of the opening of the stadium roof in the parkour documentary "Jump Britain".


title: Millennium Stadium

text: The inaugural Express Eventing International Cup took place at the stadium on 30 November 2008. The three-event competition made up of dressage, cross-country and show jumping all took place over the one day. The event was won by Oliver Townend.


title: Millennium Stadium

text: The stadium has also been used for a variety of musical events, including the Manic Street Preachers concert held on Millennium Eve, and, on the following day, a recording of the BBC's Songs of Praise, which attracted an attendance of 60,000. Tina Turner performed a sold-out concert at the stadium during her highly successful Twenty Four Seven Tour in 2000. Welsh rockers Stereophonics have played two sold-out shows at the stadium: In July 2001 as part of their two-day "A Day at the Races" festival which would later be released to DVD and in 2003, shortly after the departure of the late Stuart Cable.


title: Millennium Stadium

text: American rock band Bon Jovi played the venue during the One Wild Night Tour in 2001. At the end of January 2005, the stadium hosted a tsunami relief concert in aid of the victims of the 2004 Indian Ocean earthquake and tsunami, with Eric Clapton headlining the event. The stadium has also been host to Madonna on two occasions, the first in July 2006 when she opened the UK leg of her Confessions Tour, and most recently in August 2008 when she kicked off her Sticky & Sweet Tour at the stadium. Other performers who have played at the stadium include Robbie Williams as part of his Weddings, Barmitzvahs & Stadiums Tour, U2 as part of their Vertigo Tour, Red Hot Chili Peppers as part of their By the Way tour, The Rolling Stones as part of their A Bigger Bang Tour, R.E.M. as part of their Monster tour and again for their Around the Sun tour.


title: Millennium Stadium

text: Paul McCartney also played at the stadium as part of his Up and Coming Tour, and The Police performed there as part of their Reunion Tour. In late 2005, Oasis played at the stadium during their Don't Believe the Truth Tour and again on their Dig Out Your Soul Tour in 2009. In 2008, the stadium hosted Neil Diamond and Bruce Springsteen with the E Street Band as part of their Magic Tour, On 22 August 2009, U2 again played at the stadium, as part of their European leg of their U2 360° Tour, playing to a record-breaking concert attendance of 73,354.


title: Millennium Stadium

text: The stadium offers conferencing facilities via the foodservice organisation Compass Group. The facilities consist of six individually designed lounges and 124 pitch-facing executive box suites.


title: Millennium Stadium

text: In addition to business events, the facilities are also available for dinners, banquets, balls, parties and weddings receptions.


title: Millennium Stadium

text: On 28 March 2020 it was announced that the stadium was to be converted at a cost of £8 million into a temporary field hospital to accommodate up to 2000 patients of the COVID-19 pandemic, at the same time as the Excel Centre, London, NEC, Birmingham, and the Manchester Central Convention Complex. By the weekend of 11–12 April 2020, it had a capacity of 330 beds.


title: Millennium Stadium

text: On 12 April 2022, American professional wrestling company WWE announced that it would hold a major event at Millennium Stadium on 3 September, and opened pre-registration for tickets. The event was announced as being WWE's largest show in the UK since SummerSlam at the original Wembley Stadium in 1992. On 29 April 2022, it was announced that the event would be titled Clash at the Castle, in reference to nearby Cardiff Castle. The event attracted over 59,000 ticket pre-sale registrations, a company record.


title: Flag of Greece

text: The national flag of Greece, popularly referred to as the "blue and white one" (, ) or the "sky blue and white" (, ), is officially recognised by Greece as one of its national symbols and has nine equal horizontal stripes of blue alternating with white. There is a blue canton in the upper hoist-side corner bearing a white cross; the cross symbolises Eastern Orthodox Christianity. The blazon of the flag is Azure, four bars Argent; on a canton of the field a Greek cross throughout of the second. The official flag ratio is 2:3. The shade of blue used in the flag has varied throughout its history, from light blue to dark blue, the latter being increasingly used since the late 1960s. It was officially adopted by the First National Assembly at Epidaurus on 13 January 1822.


title: Flag of Greece

text: The nine stripes do not have any official meaning; the most popular theory says that they represent the syllables of the phrase ("Freedom or Death"), the five blue stripes for the syllables and the four white stripes . The nine stripes is also said to represent the letters of the word "freedom" ().


title: Flag of Greece

text: The origins of today's national flag with its cross-and-stripe pattern are a matter of debate. Every part of it, including the blue and white colors, the cross, as well as the stripe arrangement can be connected to very old historical elements; however, it is difficult to establish "continuity", especially as there is no record of the exact reasoning behind its official adoption in early 1822.


title: Flag of Greece

text: It has been suggested by historians that the current flag derived from an older design, the virtually identical flag of the powerful Cretan Kallergis family. This flag was based on their coat of arms, whose pattern is supposed to be derived from the standards of their claimed ancestor, Byzantine Emperor Nicephorus II Phocas (963–969 AD). This pattern (according to not easily verifiable descriptions) included nine stripes of alternating blue and white, as well as a cross, assumed to be placed on the upper left. Although the use of alternating blue and white - or silver - stripes on (several centuries-old) Kallergis' coats of arms is well documented, no depiction of the above described pattern (with the nine stripes and the cross) survives.


title: Flag of Greece

text: Flags as they are known today did not exist in antiquity. Instead, a variety of emblems and symbols (, ; , ) were used to denote each state and were for example painted on the hoplite shields. The closest analogue to a modern flag were the -like banners used by ancient Greek armies, such as the so-called , a cloth of deep red, suspended from the top of a staff or spear. It is not known to have carried any device or decoration though.


title: Flag of Greece

text: The Byzantines, like the Romans before them, used a variety of flags and banners, primarily to denote different military units. These were generally square or rectangular, with a number of streamers attached. Most prominent among the early Byzantine flags was the . In the surviving pictorial sources of the middle and later Empire, primarily the illustrated Skylitzes Chronicle, the predominating colours are red and blue in horizontal stripes, with a cross often placed in the centre of the flag. Other common symbols, prominently featuring on seals, were depictions of Christ, the Virgin Mary and saints, but these represent personal rather than family or state symbols. Western European-style heraldry was largely unknown until the last centuries of the Empire.


title: Flag of Greece

text: There is no mention of any "state" flag until the mid-14th century, when a Spanish atlas, the "Conosçimiento de todos los reynos" depicts the flag of "the Empire of Constantinople" combining the red-on-white Cross of St George with the "tetragrammatic cross" of the ruling house of the Palaiologoi, featuring the four betas or "pyrekvola" ("fire-steels") on the flag quarters representing the imperial motto ("King of Kings Reigning over those who Rule"). The tetragrammatic cross flag, as it appears in quarters II and III in this design, is well documented. In the same Spanish atlas this "plain" tetragrammatic cross flag is presented as (among other places in the Empire) "the Flag of Salonika" and "the real Greece and Empire of the Greeks (la vera Grecia e el imperio de los griegos)". The (quartered) arrangement that includes the Cross of St. George is documented only in the Spanish atlas, and most probably combines the arms of Genoa (which had occupied Galata) with those of the Byzantine Empire, and was most probably flown only in Constantinople. Pseudo-Kodinos records the use of the "tetragrammatic cross" on the banner ("phlamoulon") borne by imperial naval vessels, while the "megas doux" displayed an image of the emperor on horseback.


title: Flag of Greece

text: During the Ottoman rule several unofficial flags were used by Greeks, usually employing the Byzantine double-headed eagle (see below), the cross, depictions of saints and various mottoes. The Christian Greek sipahi cavalry employed by the Ottoman Sultan were allowed to use their own, clearly Christian flag, when within Epirus and the Peloponnese. It featured the classic blue cross on a white field with the picture of St. George slaying the dragon, and was used from 1431 until 1639, when this privilege was greatly limited by the Sultan. Similar flags were used by other local leaders. The closest to a Greek "national" flag during Ottoman rule was the so-called "Graeco-Ottoman flag" (), a civil ensign Greek Orthodox merchants (better: merchants from the Greek-dominated Orthodox "millet") were allowed to fly on their ships, combining stripes with red (for the Ottoman Empire) and blue (for Orthodoxy) colours. After the Treaty of Küçük Kaynarca, Greek-owned merchant ships could also fly the Russian flag.


title: Flag of Greece

text: During the uprising of 1769 the historic blue cross on white field was used again by key military leaders who used it all the way to the revolution of 1821. It became the most popular Revolution flag, and it was argued that it should become the national flag. The "reverse" arrangement, white cross on a blue field, also appeared as Greek flag during the uprisings. This design had apparently been used earlier as well, as a local symbol (a similar 16th or 17th century flag has been found near Chania).


title: Flag of Greece

text: A military leader, Yiannis Stathas, used a flag with white cross on blue on his ship since 1800. The first flag featuring the design eventually adopted was created and hoisted in the Evangelistria monastery in Skiathos in 1807. Several prominent military leaders (including Theodoros Kolokotronis and Andreas Miaoulis) had gathered there for consultation concerning an uprising, and they were sworn to this flag by the local bishop.


title: Flag of Greece

text: Prior and during the early days of the Greek War of Independence (1821–1829), a large variety of flags was designed, proposed and used by various Greek intellectuals in Western Europe, local leaders, chieftains and regional councils. Aside from the cross, many of these flags featured saints, the phoenix (symbolising the rebirth of the Greek nation), mottoes such as "Freedom or Death" () or the fasces-like emblems of the "Philiki Etaireia", the secret society that organised the uprising.


title: Flag of Greece

text: Because the European monarchies, allied in the so-called "Concert of Europe", were suspicious towards national or social revolutionary movements such as the "Etaireia", the First Greek National Assembly, convening in January 1822, took steps to disassociate itself from the "Etaireia"s legacy and portray nascent Greece as a "conventional", ordered nation-state. As such not only were the regional councils abolished in favour of a central administration, but it was decided to abolish all revolutionary flags and adopt a universal national flag. The reasons why the particular arrangement (white cross on blue) was selected, instead of the more popular blue cross on a white field, remain unknown.


title: Flag of Greece

text: On 15 March 1822, the Provisional Government, by Decree Nr. 540, laid down the exact pattern: white cross on blue (plain) for the land flag; nine alternate-coloured stripes with the white cross on a blue field in the canton for the naval ensign; and blue with a blue cross on a white field in the canton for the civil ensign (merchant flag). On 30 June 1828, by decree of the Governor Ioannis Kapodistrias, the civil ensign was discontinued, and the cross-and-stripes naval ensign became the national ensign, worn by both naval and merchant ships. This design became immediately very popular with Greeks and in practice was often used simultaneously with the national (plain cross) flag.


title: Flag of Greece

text: On 7 February 1828 the Greek flag was internationally recognised for the first time by receiving an official salutation from British, French, and Russian forces in Nafplio, then the capital of Greece.


title: Flag of Greece

text: After the establishment of the Kingdom of Greece in 1832, the new king, Otto, added the royal Coat of Arms (a shield in his ancestral topped by a crown) in the centre of the cross for military flags (both land and sea versions). The decree dated 4 (16) April 1833 provided for various maritime flags such as the war flag or naval ensign (set at 18:25), pennant, royal standard (set at 7:10) and civil ensign (i.e. the naval ensign without coat of arms). A royal decree dated 28 August 1858 provided for details on the construction and dimensions concerning the flags described in the 1833 decree and other flags. After Otto's abdication in 1862, the royal coat of arms was removed.


title: Flag of Greece

text: In 1863, the 17-year old Danish prince William was selected as Greece's new king, taking on the name George I. A royal decree dated 28 December 1863 introduced crowns into the various flags in place of the coat of arms. Similar arrangements were made for the royal flags, which featured the coat of arms of the House of Schleswig-Holstein-Sonderburg-Glücksburg on a square version of the national flag. A square version of the land flag with St. George in the centre was adopted on 9 April 1864 as the Army's colours. The exact shape and usage of the flags was determined by Royal Decree on 26 September 1867. By a new Royal Decree, on 31 May 1914, the various flags of Greece and its military were further regulated. By this decree, the flag with the crown was adopted for use as a state flag by ministries, embassies and civil services, while the sea flag (without the crown) was allowed for use by private citizens.


title: Flag of Greece

text: On 25 March 1924, with the establishment of the Second Hellenic Republic, the crowns were removed from all flags. On 20 February 1930, the national flag's proportions were established at a 2:3 ratio, with the arms of the cross being "one fifth of the flag's width". The land version of the national flag was to be used by ministries, embassies, and in general by all civil and military services, while the sea flag was to be used by naval and merchant vessels, consulates and private citizens. On 10 October 1935, Georgios Kondylis declared that the monarchy had been restored. By decree of 7 November 1935, the 31 May 1914 decree was restored. Thereby, the crown was restored on the various flags. In 1969, the sea flag was established as the sole national flag, using a very dark shade of blue, and on 18 August 1970, the flag ratio was changed to 7:12. Flags flying in ministries, embassies and public buildings had the crown in the centre of the cross until the official abolition of the monarchy on 1 June 1973.


title: Flag of Greece

text: After the restoration of democracy Law 48/1975 and Presidential Decree 515/1975, which entered into effect on 7 June 1975 reversed the situation and designated the former "land flag" as the sole flage of Greece, to be used even at sea. The situation was once again reversed in 1978, when the sea flag once again became the sole flag of Greece.


title: Flag of Greece

text: Several Greek researchers have attempted to establish a continuity of usage and significance of the blue and white colours, throughout Greek history.


title: Flag of Greece

text: Usages cited include the pattern of blue and white formations included on the shield of Achilles, the apparent connection of blue with goddess Athena, some of Alexander the Great's army banners, possible blue and white flags used during Byzantine times, supposed coats of arms of imperial dynasties and noble families, uniforms, emperors' clothes, patriarchs' thrones etc., 15th century versions of the Byzantine Imperial Emblems and, of course, cases of usage during the Ottoman rule and the Greek revolution.


title: Flag of Greece

text: On the other hand, the Great Greek Encyclopedia notes in its 1934 entry on the Greek flag that "very many things have been said for the causes which lead to this specification for the Greek flag, but without historical merit".


title: Flag of Greece

text: In 1978, the sea flag was adopted as the sole national flag, with a 2:3 ratio. The flag is used on both land and sea is also the war and civil ensign, replacing all other designs surviving until that time. No other designs and badges can be shown on the flag. To date, no specification of the exact shade of the blue colour of the flag has been issued. Consequently, in practice hues may vary from very light to very dark. The Greek Flag Day is on 27 October.


title: Flag of Greece

text: The old land flag is still flown at the Old Parliament building in Athens, site of the National Historical Museum, and can still be seen displayed unofficially by private citizens.


title: Flag of Greece

text: The government has not specified exactly "which" shade of blue should be used for the flag, and as such flags with many varying shades exist. In the most recent legislation regarding the national flag, the colours mentioned are:


title: Flag of Greece

text: Because of the use of the word 'cyan' (, ), which can also mean 'blue' in Greek, the exact shade of blue remains ambiguous. Although it implies the use of a light shade of blue, such as on the flag of the United Nations, the colours of the Greek flag tend to be darker, especially during the dictatorship and in recent years, with the exception of the years of the rule of King Otto, when a very light shade of blue was used. Consequently, the shade of blue is largely left to the flagmakers to decide, as shown in the table below.


title: Flag of Greece

text: Law 851/1978 sets the general outline for when the specific days on which the flag should be raised. For national holidays, this applies country-wide, but on local ones it only applies to those areas where the said holiday is being celebrated. Additionally, the flag may also be flown on days of national mourning, half-mast. The Minister of the Interior has the authority to proclaim flag days if they are not already proclaimed, and proclaiming regional flag days is vested with the elected head of each regional unit (formerly prefectures).


title: Flag of Greece

text: Although 17 November is not an official national holiday, Presidential Decree 201/1998 states that respects are to be paid to the flag on that particular day.


title: Flag of Greece

text: The War flag (equivalent to regimental colours) of the Army and the Air Force is of square shape, with a white cross on blue background. On the centre of the cross the image of Saint George is shown on Army war flags and the image of archangel Michael is shown on Air Force war flags.


title: Flag of Greece

text: In the Army war flags are normally carried by infantry, tank and special forces regiments and battalions, by the Evelpidon Military Academy, the Non-Commissioned Officers Academy and the Presidential Guard when in battle or in parade. However, flying a war flag in battle is unlikely with current warfare tactics.


title: Flag of Greece

text: The simple "white cross on blue field" pattern is also used as the Navy's jack and as the base pattern for naval rank flags. These flags are described in Chapter 21 (articles 2101–30) of the Naval Regulations. A jack is also flown by larger vessels of the Hellenic Coast Guard.


title: Flag of Greece

text: In the past a war flag was assigned to the former semi-military Hellenic Gendarmerie, which was later merged with Cities Police to form the current Hellenic Police. The flag was similar to the Army war flag but showing Saint Irene in place of Saint George.


title: Flag of Greece

text: Since the Fire Service and the Hellenic Police are considered civilian agencies, they are not assigned war flags. They use the National Flag instead. Identical rules were applied to the former Cities Police. However, recently the Police Academy has been assigned a war flag, and they paraded for the first time with this flag on Independence Day, March 25, 2011. The flag is similar to the Army war flag, with the image of St George replaced with that of Artemius of Antioch.