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List of monarchs and heads of state of Finland

This is a list of monarchs and heads of state of Finland; that is, the kings of Sweden with regents and viceroys of the Kalmar Union, the grand dukes of Finland, a title used by most Swedish monarchs, up to the two-year regency following the independence in 1917, with a brief flirtation with a truly domestic monarchy.

Part of the Kingdom of Sweden, from the High Middle Ages until 1809
Finland as an integral part of Sweden under the King of Sweden (Ruotsin kuningas).

Some texts suggest the Swedish rule of Finland started as early as during the Houses of Sverker and Eric (Sverker I of Sweden 1130–1156 and Eric the Saint 1156–1160). But the first historic documents suggesting rule by Swedish kings in Finland not limited to sparse crusades and conquests are dated at around 1249.

The House of Bjälbo

 * 1250–1275 : Valdemar Birgersson (Valdemar Birgerinpoika)
 * regent: Birger Jarl
 * 1275–1284 : Magnus Ladulås (Maunu Ladonlukko)
 * 1284–1291 : Bengt Birgersson (Bengt Birgerinpoika )
 * 1291–1302 : Birger Magnusson (Birger Maununpoika)
 * 1302–1319 : Valdemar Magnusson (Valdemar Maununpoika) and his first wife
 * 1319–1353 : Ingeborg Eriksdottir (Ingeborg Eerikintytär), widow of Valdemar
 * 1353–1356 : Bengt Algotsson (Pentti Algotinpoika)
 * 1357-1359 : Erik Magnusson (Eerik Maununpoika)
 * 1359 : Magnus Eriksson (Maunu Eerikinpoika) with his son Erik Magnusson
 * 1359–1364 : Magnus Eriksson and his son Haakon

The House of Mecklenburg-Schwerin

 * 1364–1395 : Albert, King of Sweden (Albrekt Mecklenburgilainen)

Rulers of the Kalmar Union and Regents (Valtionhoitaja, Riksföreståndare)

 * 1389–1412 : Margaret (Margareeta), widow of King Haakon of Sweden, mother of Olav IV, and heiress of Estonia, a Danish dominion
 * 1396–1439 : Eric of Pomerania (Eerik Pommerilainen, died 1459), a first cousin twice removed of Haakon I of Sweden
 * 1438–1440 : Karl Knutsson, as regent of Sweden (Kaarle Knuutinpoika)
 * 1441–1448 : Christopher of Bavaria (Kristoffer Baijerilainen)
 * 1448–1448 : Regents Bengt and Nils Jönsson (Oxenstierna) (Bengt Jönsinpoika Oxenstierna and Nils Jönsinpoika Oxenstierna)
 * 1448–1457 : Karl Knutsson, as King of Sweden, he had been 1442–48 chatelain and margrave of Viipuri county
 * 1457–1457 : Regents Jöns Bengtsson Oxenstierna (Jöns Pentinpoika Oxenstierna) the archbishop and Eric Axelsson Tott (Eerik Akselinpoika Tott)
 * 1457–1464 : Christian I (Kristian I)
 * 1464–1470 : Karl Knutsson (restored)
 * 1470–1497 : Regent Sten Sture the Elder (Sten Sture vanhempi) - also, 1483–1501 chatelain and margrave of Viipuri county
 * 1497–1501 : Hans (Hannu)
 * 1501–1503 : Regent Sten Sture the Elder (Sten Sture vanhempi)
 * 1504–1511 : Regent Svante Nilsson (Svante Niilonpoika)
 * 1512–1512 : Regent Eric Trolle
 * 1512–1520 : Regent Sten Sture the Younger (Sten Sture nuorempi)
 * 1520–1521 : Christian II (Kristian II)

The House of Vasa

 * 1521–1560 : Gustav I Vasa (Kustaa I Vaasa)
 * 1560–1569 : Eric XIV (Eerik XIV)
 * 1569–1592 : John III (restored), adopted title Grand Prince of Finland (Suomen suuriruhtinas) around 1580
 * 1592–1599 : Sigismund (titled Grand Prince of Finland) and John III
 * 1599-1606 : John III
 * 1606–1632 : Gustav II Adolph the Great (Kustaa II Aadolf), also titled Grand Prince of Finland
 * 1632–1654 : Christina of Sweden (Kristiina), also titled Grand Princess of Finland

The House of Palatinate-Zweibrücken

 * 1654–1660 : Charles X Gustav (Kaarle X Kustaa), also titled Grand Prince of Finland
 * 1660–1697 : Charles XI (Kaarle XI), also titled Grand Prince of Finland
 * 1697–1718 : Charles XII (Kaarle XII), also titled Grand Prince of Finland
 * 1719–1720 : Ulrika Eleonora of Sweden (Ulriika Eleonoora), also titled Grand Princess of Finland

The House of Hesse

 * 1720–1751 : Frederick I of Sweden (Fredrik I), also titled Grand Prince of Finland

The House of Holstein-Gottorp

 * 1751–1771 : Adolph Frederick (Aadolf Fredrik), Grand Prince of Finland
 * 1771–1792 : Gustav III (Kustaa III), Grand Prince of Finland
 * 1792–1796 : Charles, duke of Södermanland as Regent (Södermanlannin herttua Kaarle)
 * 1792–1809 : Gustav IV Adolph (Kustaa IV Aadolf), Grand Prince of Finland

Grand Duchy of Finland ruled by the Russian Empire 1809–1917
The Grand Duchy of Finland, a state ruled by the Russian Empire (1809–1917) with the Emperor of Russia as the Grand Duke of Finland (Suomen suurherttua).

The House of Romanov

 * 1809–1825 : Alexander I (Aleksanteri I)
 * 1825–1855 : Nicholas I (Nikolai I)
 * 1855–1881 : Alexander II (Aleksanteri II)
 * 1881–1894 : Alexander III (Aleksanteri III)

 * 1894–1917 : Nicholas II (Nikolai II)

Interim period 1917–1919
During the interregnum from the fall of Nicholas II to the end of the Finnish Civil War in spring 1918, sovereignty in Finland was exercised by the Finnish Parliament and, until the October Revolution and the declaration of independence, the Russian interim government. After the civil war, regents (valtionhoitaja) were appointed by the parliament and a new king elected.

In May 1918, President Woodrow Wilson stated that the U.S. “shall be willing to recognize the Republic of Finland only when she shows that she is not controlled by Germany, as she now seems to be".

Regents appointed by parliament

 * 27 May 1918 – 12 December 1918 : Pehr Evind Svinhufvud
 * 12 December 1918 – 26 July 1919 : Baron Carl Gustaf Emil Mannerheim

The House of Hesse
9 October 1918 – 14 December 1918 (22 years, 294 days) Prussia Son of Frederick William, Landgrave of Hesse and Princess Anna of Prussia 1893 6 children Kassel Aged 72
 * Fredrik Kaarle
 * Fredrik Kaarle
 * Hessenin prnssi Friedrich Karl - Prince Frederick Charles of Hesse.jpg
 * 1868
 * Princess Margaret of Prussia
 * 28 May 1940
 * King-elect of Finland
 * }

List of presidents (1919–present)
The president of Finland is Finland's head of state. Under the Constitution of Finland, executive power is vested in the president and the government, with the president possessing limited powers.


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User talk:Vicente C. de Jesus

Magellan’s Circumnavigation

The notion Magellan was first to circumnavigate the globe stems from the argument that when in 1521 he reached Mactan in the Philippines at longitude 124°E he had overlapped by at least 6 degrees longitude his earlier visit to Banda in 1511 at 130°E.

The flaw in this assertion is that there is no evidence Magellan ever reached Banda. No firsthand account mentions Magellan having reached Banda or Ambon, at longitude 124°E, as member of the expedition under Antonio d’Abreu. In The Suma Oriental of Tomé Pires (2 vols., London, Hakluyt Society, 1955), his name is not mentioned as having been with Abreu who commanded Santa Catarina and Francisco Serrão, captain of Sabaia.

Samuel Eliot Morison states Magellan commanded the third ship, a caravel(The European Discovery of America, The Southern Voyages 1492-1616, New York, Oxford University Press, 1974, p. 317). He cites no authority. A note in F.H.H. Guillemard's biography of Magellan, page 67, Damião de Góes and Gaspar Corrêa states the third vessel in the Abreu expedition was commanded by Simão Afonso Besagudo. The farthest this notion, that Magellan commanded the third ship, can be traced is to Bartolome Juan de Leonardo y Argensola, a 17th century Spanish historian who asserts the notion on his own authority.

This myth has acquired the patina of truth through countless repetition without regard as to sources and its veracity.

Wikipedia Manual of Style
You may not have been aware of it, but Wikipedia has its own style guide described in the Manual of Style. Please try to follow its advice. Edits that do not follow these guidelines may be changed to match what the WP:MOS recommends. Wikipedia does not require writers to follow all or any of these rules, but their efforts will be more appreciated when they do so.

In addition, please stop signing your additions to articles. Only your additions to talk pages, such as this one, should be signed. It's not necessary to sign articles because all edits are automatically tracked by the MediaWiki software (click any 'history' tab, including the one at the top of this page, to see its edit history). Signing your article additions poses a stylistic problem for Wikipedia, and other editors like me have to go into the articles behind you to remove your signature. The authors of print encyclopedias don't sign their names in the middle of each article, and the authors of Wikipedia don't either.

Please read and become familiar with the Wikipedia Manual of Style before editing again. Thanks. Baseball Baby  05:43, 16 September 2006 (UTC)

helpme
In the article titled "Gatighan" which I wrote, there are two things I'd like clarified: 1. How do I edit it to conform with Wikipedia standard? 2) Someone tried to slip a huge change which if allowed to stay negates the whole point of my article which is about an island where Magellan's fleet hove to sometime around April 5, 1521. The person--he/she didn't sign--who inserted the change insists Gatighan is not an island but a cape, i.e., an extension of land jutting out into the water as a projecting point. This confusion stems from the title of a map in the Nancy-Yale manuscript of the Antonio Pigafetta account. I have an extended explanation of how the confusion came about in the Discussion page of the Gatighan article. I'm afraid the fellow will come back and reinsert his entry. How do we stop this? Thanks!

 * To conform to Wikipedia standard, see WikiProject Wikify and Manual of style among other policies and guidelines.

 * When there is a disagreement like that, first of all you need to find reliable published sources which support your side of the argument. Then you discuss it on the talk page (which you get to by clicking "discussion") of the article, and try to reach consensus among all editors.

 * If the person seems to have gone away and is not discussing it on the talk page, you can just change it back to the way it was. You can click "history" and remove (revert) a change by someone else by clicking "undo" next to their edit.  If theirs is not the most recent edit, "undo" might not work.  You can revert to an earlier version by clicking on that version, then clicking "edit".  It will warn you that you're editing an earlier version, and then you just fill in the edit summary, something like "reverting to version of ..." and click "save".  It's easy -- but not always the right thing to do.  See for example the three-revert rule.

 * You can put the page on your watchlist. Click "watch" at the top of the page.  Then, whenever you click "watchlist" at the top of the screen, you'll see a list of any pages on your watchlist that have been changed in the past couple of days.  That can help you keep tabs on the article so you can discuss with the other editor and/or change it back.

 * Feel free to leave a message on my talk page if you have any further questions. --Coppertwig (talk) 04:20, 25 December 2007 (UTC)

 * I'm not sure exactly what the person meant by cleanup. Maybe the article isn't focussed enough.  You say that Gatighan is only mentioned on one map.  Then how can you have that whole list of references and write a whole article on it?  That might have something to do with it.  --Coppertwig (talk) 04:25, 25 December 2007 (UTC)

 * Also we have the policy assume good faith. You can revert someone's edit, but don't call it vandalism unless it clearly was not intended as an improvement.  --Coppertwig (talk) 14:44, 25 December 2007 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Vicente C. de Jesus


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First Secretary

First Secretary may refer to:
 * First minister, a leader of a government
 * Secretary (title), a leader of a political party (especially Communist parties), trade union, or other organization
 * First Secretary (diplomatic rank), a role within an embassy
 * First Secretary of State, a ministerial rank in the British government

title: First Secretary


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The TKO Horns

The TKO Horns were a horn section formed in 1982 when Big Jim Paterson (trombone), Paul Speare (tenor saxophone) and Brian Maurice (alto saxophone) left Dexys Midnight Runners. After a brief spell touring with Paul Young's Q Tips they began performing on a regular basis with Elvis Costello. Another former Dexy's sax player, Geoff Blythe, soon replaced Maurice and Dave Plews (trumpet) was added as The TKO Horns featured prominently on Costello's 1983 album Punch The Clock.

Over the next few years they performed on records by numerous other artists including Madness, Squeeze, Nick Lowe, Howard Jones and The Fixx. Paul Speare also appeared on The Special A.K.A.'s Nelson Mandela while Paterson and Blythe teamed up again in 1989 as part of a group called The Neighbourhood. More recently Blythe has been a member of Irish-American rock group Black 47.

title: The TKO Horns


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Dragon School

The Dragon School is a private school across two sites in Oxford, England. The Dragon Pre-Prep (children aged 4–7) and Prep School (children aged 8–13) are both co-educational schools. The Dragon Prep School was founded in 1877 as the Oxford Preparatory School. It takes day pupils and boarders.

Originally established for boys, the Dragon School also accepted a small number of day girls with a close connection to the school, first admitting girls as boarders in 1994. The school educates children aged 4 to 13 in two sites in North Oxford: Bardwell Road and Richards Lane. Boarding starts at 8 and there are 10 boarding houses, including one weekly-boarding house. Dragon Lane runs along the edge of the school immediately to the west.

History
The school was founded by a committee of Oxford dons, among whom the most active was a Mr George. In honour of Saint George, the group decided to call themselves Dragons.

Teaching started in September 1877 at rooms in Balliol Hall, located in St Giles', central Oxford, under A. E. Clarke. The school expanded and moved within two years to 17 Crick Road, which became known as "School House". Charles Cotterill Lynam (known as the "Skipper") took over as headmaster in 1886.

In 1894, Lynam took out a lease on land at the current site at Bardwell Road in central North Oxford, just to the west of the River Cherwell. £4,000 was raised through subscriptions from local parents for the erection of new school buildings and the move was completed within a year. The school was known as Oxford Preparatory School and also Lynam's, but gradually its current name was adopted.

The Dragon School became the second school to take part in the Harrow History Prize in 1895. Over the years, many of its pupils have won this prize, an early winner being Kit Lynam. The school was run for many years by the Lynam family.

The school has become notable for its large number of eminent alumni.

Heads
The following have been Heads of the school, several from the Lynam family:

 * A. E. Clarke 1877–1886
 * C. C. Lynam ("Skipper") 1886–1920
 * A. E. Lynam ("Hum") 1920–1942
 * J. H. R. Lynam ("Joc") 1942–1965
 * R. K. Ingram ("Inky") 1965–1989
 * M. W. A. Gover ("Guv") 1972–1989 (head of day pupils, co-headmaster with "Inky")
 * N. P. V. Richardson 1989–1992
 * H. E. P. Woodcock 1992–1993
 * R. S. Trafford 1993–2002
 * J. R. Baugh 2002–2017
 * Crispin Hyde-Dunn 2017–2021
 * Mrs E. C. Goldsmith 2021–present

Other teachers

 * PJ Wilson, Olympic hockey player

Old Dragons
Former pupils of the Dragon School are referred to as Old Dragons. The following people were pupils at one time: • Poppy Adams, writer

• Hatti Archer, long-distance runner

• Alexander Aris (born 1973), elder son of Nobel Prize-winning democracy and human rights campaigner Aung San Suu Kyi and Michael Aris

• Baron Armstrong of Ilminster (1927–2020), civil servant

• Mary Creighton Bailey (1913–2008), classics scholar and educator

• Henry Barratt (born 1983), rugby union player

• Sir Gawain Bell (1909–1995), colonial administrator, Governor of Northern Nigeria

• Michael Beloff (born 1942), barrister, President of Trinity College, Oxford

• Sir John Betjeman (1906–1984), poet, Poet Laureate from 1972

• Sir Lennox Berkeley (1903–1989), composer

• Christopher Booker (1937–2019), journalist and author

• Alain de Botton (born 1969), writer and television producer

• Humphry Bowen (1929–2002), chemist and botanist

• Jonathan Bowen (born 1956), computer scientist

• Julian Brazier (born 1953), politician

• Henry Brett (born 1974), polo player, captain England polo team 2003–06

• James Bruce Lockhart (1941–2018) diplomat, intelligence officer, author, and artist

• Lord Bruce-Lockhart (1942–2008), politician

• Sir Giles Bullard (1926–1992), diplomat

• Sir Julian Bullard (1928–2006), diplomat

• John Campbell (born 1958), economist

• Humphrey Carpenter (1946–2005), journalist, author, and musician

• Bill Carritt (1908–1999), communist, college lecturer, campaigner for the Scottsboro Boys

• Noel Carritt (1910–1992), communist, International Brigadier

• Tristram Cary (1925–2008), composer

• Simon Cawkwell (born 1946), stock market commentator

• Hal Cazalet, musician

• Christopher Cazenove (1943–2010), actor

• Jonathan Cecil (1939–2011), actor

• Paul Chahidi (born 1969), actor

• Leonard Cheshire (1917–1992), World War II RAF pilot and activist for the disabled

• Colin Clark (1905–1989), economist

• Sebastian Croft (born 2001), actor

• Hugh Dancy (born 1975), actor

• Jack Davenport (born 1973), actor

• Quentin Davies, politician

• Ralph Henry Carless Davis (1918–1991), historian

• Dame Cressida Dick (born 1960), former Commissioner (head of) Metropolitan Police London

• Henry Dimbleby (born 1970), food campaigner and businessman

• Oliver Dimsdale (born 1972), actor

• David Fasken (1932–2006), English cricketer and businessman

• Rick Fenn (born 1953) rock guitarist, member of 10cc

• Lady Antonia Fraser (born 1932, née Pakenham), historical author

• Bernard Gadney, (1909–2000), rugby player and educator

• Douglas Gairdner, (1910–1979), pediatrician

• Hugh Gaitskell (1906–1963), politician, leader of the Labour Party from 1955 to 1963

• Lord Geidt, Private Secretary to Queen Elizabeth II

• Tom George (born 1994), world championship rower

• Michael Gough (1916–1973), archaeologist

• Olivia Grosvenor, Duchess of Westminster (born 1992), businesswoman and peeress

• J. B. S. Haldane (1892–1964), geneticist and evolutionary biologist

• Air Chief Marshal Sir Donald Hardman

• Tim Henman (born 1974), tennis player

• Tom Hiddleston (born 1981), actor

• Sir Tony Hoare (born 1934), computer scientist

• Brent Hoberman, co-founder of lastminute.com

• Tom Hollander (born 1967), actor

• Peter Hopkirk (born 1930), journalist, author

• Air Marshal Sir Peter Horsley (1921–2001), Royal Air Force commander

• Frances Houghton (born 1980), rower and Olympic silver medallist

• Lord Hunt (born 1941), leading authority on turbulence modelling

• Sir Tim Hunt, biochemist and Nobel laureate

• Edward Impey (born 1962), historian, archaeologist, museum curator, Master of the Armouries and Director General of the Royal Armouries

• Brian Inglis (1916–1993), journalist and historian

• Max Irons (born 1985), actor

• Pico Iyer (born 1957), journalist and author

• Peter Jay (born 1937), television journalist, and former BBC economics editor

• Patrick Jenkin PC (Lord Jenkin of Roding, born 1926), politician

• David Jessel, journalist

• Stephen Jessel, journalist

• C. E. M. Joad, philosopher

• Dom Joly (born 1968), comedian

• Sir John Kendrew (1917–1997), molecular biologist and Nobel Laureate

• Andrew Lack (born 1953), biologist and botanist

• Ben Lamb, actor

• Paul Lee, TV director and producer

• Hugh Laurie (born 1959), comedian, musician and actor

• Alan Macfarlane, anthropologist and historian

• Lancelot Mallalieu, politician

• Henry Marsh, (born 1950), neurosurgeon and author

• Oliver Milburn (born 1973), actor

• Hugh Miles (born 1977), journalist and author

• Naomi Mitchison (née Haldane, 1897–1999), novelist and poet

• Philip Moore, Baron Moore of Wolvercote (1921–2009), civil servant and personal private secretary to the Queen

• Sir John Mortimer (1923–2009), playwright, barrister and novelist

• Sir Peter Newsam (born 1928), educator (also staff)

• Sir Roger Norrington (born 1934), musician and conductor

• Naji Abu Nowar

• Ed O'Brien (born 1968), musician (member of Radiohead)

• Rageh Omaar (born 1967), journalist and writer

• Julian Opie (born 1958), artist

• Stephen Oppenheimer (born 1947), genetic researcher and author

• Derek Parfit (1942–2017), philosopher

• Tom Penny (born 1977), skateboarder

• Funki Porcini, musician

• Ronnie Poulton-Palmer (born c. 1890), killed in the First World War, rugby player

• Jonathan Pugh (born 1962), cartoonist

• William Pye (born 1938), sculptor

• Sir Timothy Raison (1929–2011), politician, journalist and author

• Jack Randle (1917–1944), distinguished serviceman, T/Captain, 2nd Bn. The Royal Norfolk Regiment

• Adrian Rawlins (born 1958), film and television actor

• Hugo Rittson-Thomas, photographer

• William Leefe Robinson (1895–1918), lieutenant, 39 Squadron, Royal Flying Corps

• Aubrey de Sélincourt (1894–1962), writer

• Nicholas Shakespeare (born 1957), journalist and novelist

• David Shukman

• Henry Shukman, poet

• Nevil Shute (1899–1960), novelist

• Sir John Slessor, Marshal of the Royal Air Force

• Sir John Smyth, serviceman, lieutenant, 15th Ludhiana Sikhs, Indian Army

• Richard Sorabji (born 1934), academic and historian of classical philosophy

• Timothy Sprigge (1932–2007), philosopher

• Jon Stallworthy (born 1935), academic and poet

• Robin Stevens (born 1988), children's author

• Rory Stewart (born 1973), politician, author and diplomat

• Galen Strawson (born 1952), philosopher and literary critic

• Christopher Tolkien (1924–2020), son of J. R. R. Tolkien

• Simon Tolkien (born 1959), novelist and son of Christopher Tolkien

• Basil Tuma (born 2005) Reading FC striker. (Inspired and mentored by the Gaps of 2017)

• Peter Tranchell (1922–1993), musician, composer, and teacher

• The 3rd Baron Tweedsmuir (1916–2008), politician, novelist and poet

• Sir Reginald Tyrwhitt, Royal Navy admiral

• Sam Waley-Cohen (born 1982), jockey and businessman

• Tom Ward (born 1971), actor

• Paul Watkins (born 1963), Booker Prize-nominated author

• Emma Watson (born 1990), actor

• Nicholas Wheeler (born 1965), businessman, founder of Charles Tyrwhitt

• Admiral Sir Hugo White (born 1939), Royal Navy admiral, Commander-in-Chief Fleet 1992–95

• Jack Whitehall (born 1988), comedian

• Benjamin Whitrow (1937–2017), actor

• Conrad Wolfram (born 1970), technologist

• Stephen Wolfram (born 1959), scientist and technology entrepreneur

• John Woodcock (1926–2021), cricket writer

• Rupert Wyatt (born 1972), writer and film maker

• Shaun Wylie (1913–2009), mathematician and World War II codebreaker

• Wayne Che Yip (born 1981), director

• Baroness Young (1926–2002), politician

title: Dragon School


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Ship class

A ship class is a group of ships of a similar design. This is distinct from a ship type, which might reflect a similarity of tonnage or intended use. For example, USS Carl Vinson (CVN-70) is a nuclear aircraft carrier (ship type) of the Nimitz-class aircraft carrier (ship class).

In the course of building a class of ships, design changes might be implemented. In such a case, the ships of different design might not be considered of the same class; each variation would either be its own class, or a subclass of the original class (see County-class cruiser for an example). If ships are built of a class whose production had been discontinued, a similar distinction might be made.

Ships in a class often have names linked by a common factor: e.g. Trafalgar-class submarines' names all begin with T (HMS Turbulent (S87), HMS Tireless (S88), HMS Torbay (S90)); and Ticonderoga-class cruisers are named after American battles (USS Yorktown (CG-48), USS Bunker Hill (CG-52), USS Gettysburg (CG-64), USS Anzio (CG-68)). Ships of the same class may be referred to as sister ships.

Overview
The name of a naval ship class is most commonly the name of the lead ship, the first ship commissioned or built of its design. However, other systems can be used without confusion or conflict. A descriptive name may be used; for example it was decided to group destroyers made to the same design as HMS Tomahawk, all named after weapons, as the Weapon-class destroyer rather than Tomahawk class.

Europe in general
In European navies, a class is named after the first ship commissioned regardless of when it was ordered or laid down. In some cases this has resulted in different class names being used in European and U.S. references; for example, European sources record the Colorado-class battleships of the United States Navy as the "Maryland class", as USS Maryland (BB-46) was commissioned before USS Colorado (BB-45).

Germany
The West German Navy (Bundesmarine) used a three-digit type number for every class in service or in advanced project state. Modified versions were identified by a single letter suffix. After the reunification of Germany the German Navy (Deutsche Marine) kept the system. Informally, classes are also traditionally named after their lead ships.

Indonesia
The Indonesian Navy has a traditional naming system for its ships. In addition, the ship's type and missions can be identified by the first number on the ship's three-digit hull number, which is placed on the front bows and the back of the stern. The naming convention is:

 * Hull number beginning with 1 (reserved for aircraft carriers): ancient empires and kingdoms
 * Hull number beginning with 2 (cruisers and destroyers): Indonesia's main islands
 * Hull number beginning with 3 (frigates, ocean escorts, corvettes): national heroes
 * Hull number beginning with 4 (submarines, submarine tenders): mythical weapons (for submarines), National heroes (for submarine tenders)
 * Hull number beginning with 5 (amphibious ships, LSTs, LPDs, LCUs, command ships): main and strategic bays (for LSTs), big cities (for LPDs), small cities (for LCUs), National figures (for command ships)
 * Hull number beginning with 6 (fast attack ships): mythical weapons (previous names for missile boats), traditional weapons (current names for fast missile boats), wild animals (for fast torpedo boats)
 * Hull number beginning with 7 (minesweepers, minehunters ships): every island begin with letter "R", letter "F" (mine countermeasure vessel)
 * Hull number beginning with 8 (patrol boats): native fishes and sea creatures, native snakes and wild reptiles, wild insects, geographical places (such as towns, lakes or rivers begin with "si-", like Sikuda, Sigurot, Sibarau)
 * Hull number beginning with 9 (supporting ships, oilers, tugs, troops transports, oceanographic research ships, sailing ships, etc.): volcanoes, cities, mythical figures, geographical capes and straits

Russia/Soviet Union
Russian (and Soviet) ship classes are formally named by the numbered project that designed them. That project sometimes, but not always, had a metaphorical name, and almost always had a NATO reporting name. In addition, the ships of the class would have a number prefixed by a letter indicating the role of that type of vessel. For example, Project 641 had no name, though NATO referred to its members as Foxtrot-class submarines.

The ship classification does not completely correspond common designation, particularly for destroyers, frigates and corvettes. Russia has its own classification system for these ships:

 * Squadron Torpedo Carriers (Эскадренный миноносец) are traditionally referred to as Destroyers (formerly torpedo boat destroyers). The Russian word for destroyer is used in the air force for fighter aircraft.

 * Destroyers can also be classified as Big Anti-submarine Ships (Большой противолодочный корабль) or Big ASW Ships (e.g. Udaloy-class destroyer). They are alternatively classified as cruisers (e.g. Kara-class cruiser). The Russian Big Anti-submarine Ships type also has its sub-type of Guard (or Patrol) Ships.

 * Guard (or Patrol) Ships (Сторожевой корабль) are usually referred to as frigates (e.g. Gepard-class frigate).

 * Another substantial type in Russia are Small Anti-submarine Ships (Малый противолодочный корабль) or Small ASW Ships. These are referred to as corvettes (e.g. Grisha-class corvette). Corvettes are also classified as Small Missile Ships (Малый ракетный корабль; e.g. Buyan-class corvette) or Missile Boats (Ракетный катер; e.g. Tarantul-class corvette) in Russia.

United Kingdom
The British Royal Navy (RN) has used several methods of naming classes. In addition to the accepted European convention, some classes have been named after a common theme in the included ships' names, e.g., Tribal-class destroyers, and some classes were implemented as an organizational tool, making traditional methods of naming inefficient. For instance, the Amphion-class submarine is also known as the A class. Most destroyer classes were known by the initial letter used in naming the vessels, e.g., V and W-class destroyers. Classification by letter also helped to conflate similar smaller classes of ships as in the case of the A-class destroyers of 1913 whose names spread across the alphabet. Since the end of the Second World War, Royal Navy ship classes have also been known by their type number (e.g. Type 45 destroyer.)

United States
For the United States Navy, the first ship in a class to be authorized by Congress is the designated class leader and gives the name to the class, regardless of the order in which the ships of that class are laid down, launched or commissioned. Due to numbering conventions, the lead ship often has the lowest hull number of its class. (During World War II, the award of construction contracts was not always congruent with completion, so several ships had higher hull numbers than later ships.)

Before the 1920s, naval vessels were classified according to shared characteristics.

The unofficial retro-applying of ship classes can occasionally lead to confusion. For example, while American works consistently adhere to the City- and Columbia-class monikers, works of British origin refer to the same classes as Cairo class and Tennessee class respectively, in compliance with the modern Royal Navy naming conventions.

By the time the United States entered World War II, the current naming convention was in place, though it remains unclear as to exactly how and when the practice originated.

Merchant vessel class
Merchant ships are almost always classed by a classification society. These vessels are said to be in class when their hull, structures, machinery, and equipment conform to International Maritime Organization and MARPOL standards. Vessels out of class may be uninsurable and/or not permitted to sail by other agencies.

A vessel's class may include endorsements for the type of cargo such as "oil carrier", "bulk carrier", "mixed carrier" etc. It may also include class notations denoting special abilities of the vessel. Examples of this include an ice class, fire fighting capability, oil recovery capability, automated machinery space capability, or other special ability.

title: Ship class


text:
Talk:Dragon School

Logo?
That thing called a logo looks more like a crest to me, in the technical sense of being the thing on top of the helm (I take it that is a wreath the dragon is sitting on). On the other hand, a crest couldn't very well include that segment of something in the top left corner. Maybe it is indeed a "logo". Does the school have armorial bearings? It's possible it doesn't, given the unorthodox behaviour of the school's early proprietors. Doesn't a logo need to have letters or even one or more words really, assuming it's derived from λογος.--AlexanderLondon 23:44, 5 September 2006 (UTC)

Name
This is an interesting one and something I often wonder about - not, I hasten to add, solely in connection with the Dragon School (in fact never in connection with the Dragon School until now) - usually when addressing envelopes (as below). Grand types of school do seem to attract the definite article, e.g. The Perse School, The Judd School, and any number of "The King's" schools. Do people usually say "The" for "The King's"? (I went to a comprehensive myself and don't know people who habitually talk about these places). I live near Judd and I think it's either The Judd School or Judd - never Judd School, though. From Oxford experience, I should say that "The Queen's College" is rare in speech, if only because you would just say "Queen's". However, in any more formal setting I think it is "The Queen's College, Oxford" (but not "The King's College, Cambridge", or, for that matter, "The Queens' College, Cambridge"). By the way, Lord Eatwell - what a name for the president of an Oxbridge college, except, of course, Regent's Park College, Oxford, which ought to have a Reverend Dr Drinkwater as principal (it doesn't - it has a Reverend Professor Fiddes, which is almost as good).--AlexanderLondon 23:44, 5 September 2006 (UTC)

Do you think 'the definite article' should be used for this er... article? -- Mintguy

 * Hmm, I'm not sure, but as far as I'm aware most instituions with names that start with "The" don't have the "The" in the article name. For example, the University of Cambridge is under University of Cambridge, rather than The University of Cambridge. (Is that analogous?) In this case, the "The" seems to be attached to the name, but not as a fully fledged part of the name, because the website calls it "the Dragon School" rather than "The Dragon School" - except at the beginning of a sentence, of course. But then again, would "the" as part of a name be capitalised anyway? Oh, you've confused me now. What was the question again...? -- Oliver P. 01:42 Feb 23, 2003 (UTC)

Well, if you were addressing a letter to the school, you would put Fred Bloggs Quentin Farquharson The Dragon School etc...

Whereas I'm not sure you'd do this with University of Cambridge. Mintguy

 * Ah, good point. I'll just say I'm still not sure... Can you think of any examples of similarly named institutions that already have articles, that we can look to for precedents? Does anyone else want to express a third opinion...? -- Oliver P. 02:05 Feb 23, 2003 (UTC)

 * I could point out that the school's website is at dragonschool.org rather than thedragonschool.org... And that the copyright notice on the main page is "© Dragon School Trust Ltd 2003", even though it's really The Dragon School Trust Ltd... I'm not sure how relevant these facts are, though... -- Oliver P.

My opinion: a school for dragons! Cool! (oh, and I'll make a redirect from The Dragon School to here to cover all bases - I don't know where the article should be, but here seems OK to me. Does it matter?) --Camembert

 * Well I'm not stating a definite opinion on this myself. I don't know either. But for similar institututions how about The Football Association, The Labour Party (UK)... hm.. which I've just noticed someone has moved.. it needs to go back I think 'cos it is registered with the Electorial Commission as 'The Labour Party' and we had a big discussion about the name. Mintguy

The correct name is "Dragon" I think, but it is universally called "the Dragon" by those who went there (including me, and my father, who didn't, used to tell me I was wrong). —Preceding unsigned comment added by 171.192.0.10 (talk) 13:38, 6 February 2009 (UTC)

Dragon no longer a prep school?
User:Tai_Kit (who has since disappeared) changed the description from "preparatory school" (which it was when I went there) to "independent school". Is it no longer a "prep school", or should both phrases be present? BTW It is still listed in Preparatory school (UK), and a spot check of some of the others listed there still shows the term "preparatory school"... Jpaulm 17:18, 20 December 2006 (UTC)

‘Tis. Age 4-on. 77.69.34.203 (talk) 10:05, 13 August 2019 (UTC)

History of the Dragon School
I seem to remember being told that the school was originally a school for the children of needy clergymen; and also that its students were at one time used as subjects for IQ measurements that were later found to have been falsified to bolster the theory that IQ is inherited. Has anyone come across references for either or both of these ideas? Thanks. Jpaulm 14:56, 13 October 2007 (UTC)

Head Masters
Sir I. S. Anderson ( Ian Anderson (musician) ) 1292-1877! A fine inclusion and very Draconian, in keeping with the spirit of anarchy that the school takes pride in...personally I haven't the heart to delete it, but I suppose somebody else should

Jaguarjaguar (talk) 14:29, 14 January 2008 (UTC)

Why do the Head Masters only have initials. Are they all cricketers? DavidFarmbrough (talk) 06:07, 16 May 2014 (UTC)

Slang
Does "Dragon has developed its own unique lexicon besides, incorporating a slang particular to the school ('pill' meaning ball, 'with you' meaning pass, and so on)." imply that 'pill' for 'ball' is unique to The Dragon School? Because it isn't, 'pill' for 'ball' is common and widely used. —Preceding unsigned comment added by 213.122.12.63 (talk) 13:23, 17 December 2010 (UTC)

Category:Old Dragons rename
At present there is a discussion relating to the renaming of this category. If you would like to participate in the discussion, you are invited to add your comments at this discussion page. Please note that the discussion is not a majority vote so contributions should be based on Wikipedia policies and independent sources. Cjc13 (talk) 18:04, 1 April 2012 (UTC)

Crick Road
There is a significant difference in the chronology between this article and the one on Crick Road. One claims the school moved within one year, the other - after 16 years. At least one of them must be wrong. — Preceding unsigned comment added by 82.68.94.86 (talk) 15:44, 21 May 2013 (UTC)

 * You may need to clarify where you are seeing the dates that you think are contradictory. As far as I can see, both articles would be consistent with moving to Crick Road in 1879 and away from there in 1895. - David Biddulph (talk) 16:02, 21 May 2013 (UTC)

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title: Talk:Dragon School


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Eastlake movement

The Eastlake movement was a nineteenth-century architectural and household design reform movement started by British architect and writer Charles Eastlake (1836–1906). The movement is generally considered part of the late Victorian period in terms of broad antique furniture designations. In architecture the Eastlake style or Eastlake architecture is part of the Queen Anne style of Victorian architecture.

Eastlake's book Hints on Household Taste in Furniture, Upholstery, and Other Details posited that furniture and decor in people's homes should be made by hand or machine workers who took personal pride in their work. Manufacturers in the United States used the drawings and ideas in the book to create mass-produced Eastlake Style or Cottage furniture.

The geometric ornaments, spindles, low relief carvings, and incised lines were designed to be affordable and easy to clean; nevertheless, many of the designs which resulted are artistically complex.

Although Charles Eastlake did not make furniture, his movement influenced the interior design of American homes with English designs that were easy to clean, functional, and simple. The ‘Eastlake’ style is of Victorian architecture and one of the core principles of this style was that Eastlake thought that the furniture in people's homes should be good looking and be made by manufacturers who enjoyed their work. This was contrary to the previous style of furniture, with pieces that were large, heavy, and thick, and that collected dust and germs.

History
Eastlake movement was named after the English architect Charles Locke Eastlake (nephew of Sir Charles Lock Eastlake) following the release of his influential book Hints on Household Taste in Furniture, Upholstery and Other Details. Eastlake was originally a painter who trained in Rome and was considered to have great knowledge in art however he had a specific preference.

In Hints on Household Taste in Furniture, Upholstery and Other Details, Eastlake promoted Victorian style furniture which had opposed the curved features of the French Baroque Revival Styles. Instead, Eastlake style had "angular, notched and carved" features and although he did not produce any furniture himself, cabinet makers produced them. His book influenced custom designers as well as machine-made manufacturers who Eastlake abhorred. His quote "I find American tradesmen continually advertising what they are pleased to call Eastlake furniture, the production of which I have had nothing whatever to do, and for the taste of which I should be very sorry to be considered responsible" shows his stance on this.

This influence later led to the Eastlake movement in the United States where Eastlake style furniture were being produced for the middle-class. It was known to be affordable while also being handcrafted and easy to clean which shows the transformative nature of Eastlake's ideas to furniture.

Characteristics
Eastlake style applied to houses as well as furniture. Characteristics of these houses include the lathe-shaped wooden forms and mechanical jigsaw wooden forms. Porch posts and railings had intricate wooden designs and curved brackets and scrolls were placed at corners. The façade also included "perforated gables and pediments, carved panels and a profusion of beaded spindles, and lattice work found along porch eaves." Mansardic porches were another characteristic and had wrought iron crestings. The color combination of the houses also emphasized the contrast between the lighter colors of the details and the darker colors of the house body. In the United States, especially in California, American home builders in the 1880s replaced flat-cut gingerbread ornamental elements that were popular in the 1860s and 1870s with lathe-tuned spindlework for balusters and wall surface decoration. Charles Eastlake criticized the American adaptation as "extravagant and bizarre". However, the style lived on and it was later combined with Italianate and Second Empire elements to create the "San Francisco Style".

In furniture, Eastlake was particularly fond of oak and cherry wood grains; however, American manufacturers still used ebonized wood despite Eastlake's suggestions. The forms of the furniture were often rectilinear and had "geometric ornament, turnings, brackets, trestles, and incised linear decoration." Additionally, the designs were easily made by machines. Eastlake also believed that the prices of his furniture should be "as cheap as that which is ugly" as he could not understand why anyone would buy a more expensive piece of furniture for a more intricate design. Eastlake's furniture was for the middle-class home, and being easy to clean was another one of the characteristics.

William S. Clark House

One example of an Eastlake movement building is William S. Clark House in Eureka, California. The house was built in 1888 and contains "an elaborately decorated entrance porch, flanking square bays, side slant bays, and roof gables". Eastlake ornamentation can be seen in the bays, gables, windows, frieze, and porch. The entrance is decorated with spools, sunbursts, holes, buttons, brackets, scallops, and pierced cylinders, and is supported by large chamfered columns. The glass planes of the recessed double doors are decorated with panels above and below. The square and slant bays contain brackets, panels, moldings, and buttons. The gables contain a grillwork of stickwork, knobs, bevelled sticks, and pierced scallops that hang from the edge of the roof. The gable bracing of William S. Clark House is untraditional as most gable bracings of Eastlake Style would connect to the edge of the roof. The gable bracing instead hangs from the edge which provides shadows on the house wall. The frieze contains vertical and zigzag bevelled sticks, and pierced and chamfered brackets that surround the cornice. Below the bays, the corners of the stringcourse are filled by bevelled sunbursts. The slant bays have side porches that extend to the back of the house and there is a rear hall that connects the house with a storage/laundry annex at the back of the property. On the north side of the house, there are small, squared windows on either side of the round headed window, which create a Palladian effect.

The entrance hall, double parlors, and dining rooms are significant in that the décor and character is preserved. The unpainted windows and stairway banister have natural wood finishes that have darkened over time. The doors, stairway panels below the railing, and dining room wainscoting have the same 19th century oak graining. The wallpapers, picture railings, period furnishings, and potted ferns are in the same style as the Victorian features of the interior. In the fireplaces in the rear parlor, family room, and dining room, there are highly polished, hardwood mantels above small fireplaces. Mirrors, polished tiles, and intricate shelves extend close to the picture railing. The entrance hall stairway has a banister and a light-topped newel post leading to the second-floor hallway which is surrounded by another open-work banister. There is a contrast between the white-painted woodwork and light embossed wallpaper with the darker woodwork and paper of the parlors and dining room. The doors upstairs are painted and panelled and each has a glass of transom above. The bathroom still has an old pull-chain tank toilet and the bath has an old clawfoot tub.

Winters House

Winters House is an Eastlake movement-building in Sacramento, California and was built in 1890. It has 3 stories and is approximately 4500 square feet. Some exterior features of the house include ornamental details, such as "sunburst pediments, a frieze of scrollwork sunbursts, dentil work in the gables, a mansard porch canopy, and a decorative balustrade with spindles and stick work. " The house has not had any significant deviations from the original design, materials and workmanship.

The characteristics of Winters House can be seen in the "steel pitched hip and gable roof, asymmetrical front façade, two-story angled bay under forward gable, mansard front porch and second story bay windows on both sides of the house". The roof of the house made of asphalt shingles and the walls are made from pattern siding covered heart redwood. The foundation of the building is a cement parged brick stem wall and the decorative brick chimneys are part of a coal burning fuel system. The interior of the house reflects the Eastlake style in the mantel spindles, the ornate tile work surrounding the two fireplaces, 12-foot second story coved ceilings and other details. The wall cladding in the main house is a horizontal shiplap with vertical lapboard. All of the windows are framed with grooved vertical moulding and other trim work, such as sunbursts above the second story windows. Below the cornice, the house also has a frieze board which includes scrollwork sunbursts and stars. In the front porch, above the front doors are cut window panels in jewel tones. The porch has a framing of fans, flowers, dentils, and spindlework. The spindlework and stickwork is repeated from the upper porch to the lower porch balustrade.

Thomas F. Ricks House

Thomas F. Ricks House is an Eastlake movement-building in Eureka, California. It was built in 1885 and in Eureka, the building is the most prominent example of Eastlake style. The building had several renovations to parts of the building, leading to the interior having a mixture of period styles. Many of the interior millwork were replaced during the hospital renovation in 1907 and in 1952 the dining room and kitchen were constructed in the style of that year. On the second floor, there are two Eastlake style bedrooms that have been unchanged.

The entry hall of Thomas F. Ricks House contains a recessed ceiling panel that is outlined with molding ornamented with modillions. A bead course is used for decoration for the staircase newel post and squared balusters have a simple railing. The entry to the living rooms are double pocket doors and the living room ceiling is surrounded with box molding and underneath it, a picture rail. The floor is a carpeted hardwood floor with a plain 12-inch baseboard and all other rooms contain the same floor and ceiling finishes with a few variations in the walls. The Victorian rooms’ surrounds had bullseye corner blocks and lower ceiling finishes. The building is unique in that in Eureka, it is the only two-story building that is symmetrical with squared bay windows. Other Eastlake features of the house include: "the vertical stripes in the frieze, the brackets extending from the vertical strips, the narrow belt course, the cornice and brackets over the windows, and the wide band of trim under the cornice".

Spread in the United States
Although Eastlake's book Hints on Household Taste in Furniture, Upholstery and Other Details was originally released in England and was positively received, its influence was greater in the United States. The book was reprinted four times in England and six times in the United States. However, following the Civil War, the middle class desired a design reform due to the increasing awareness of the English movement. In England, Eastlake was one of many who desired a design reform, but in America his simplicity and taste were exposed to "unprecedented new readers". The New York Times stated that the home furniture was becoming simpler and that "the demand for extravagant and florid goods for household use" was gone.

In the nineteenth century, as machine-production became more mainstream, many household artists thought that the designs produced lacked artistic characteristics and had untraditional craftsmanship. Unlike manmade furniture, artists believed that machine-made furniture did not have holistic designs and "had a basic form, a skeleton so to speak, to which various moldings and appendages of different styles were hastily applied." Eastlake, like many others, disliked the machine-produced furniture that replicated handcraftsmanship. He stated that the "elaboration and finish" should be a lower priority and most artists concurred that the "educated ideas of construction and proportion" were preferred.

One person who popularized Eastlake's ideas was Henry Hudson Holly, an architect who wrote multiple articles using Eastlake's book but only cited him once. Although Holly profited from Eastlake's ideas, he echoed his ideas on furniture.

Eastlake's book led to a demand in Eastlake furniture; however, Eastlake himself denied that there was an Eastlake style. This led to furniture manufacturers—who initially thought that Eastlake's ideas would be more harmful than good—to invent their own Eastlake furniture, with it reaching a point that it was "seen everywhere". In 1876, the Centennial Exhibition showcased Eastlake's ideas from his book to thousands of Americans. While the ‘old’ Renaissance style was featured in most of the exhibitions, manufacturers were criticized for prioritizing profits over creating well-designed pieces of furniture. Following George W. Gay's comment on Eastlake having "far reaching influence" which could be compared to the best of America's and Europe's manufacturers, manufacturers of cheap furniture began to use Eastlake style whereas before little attention was paid to the appearance.

Well-known Eastlake style houses
Two well-known Eastlake style houses in the Los Angeles area, in Echo Park and Angelino Heights, are both on Carroll Avenue. The first is at 1330 Carroll Avenue. It was used in Michael Jackson's Thriller music video, as well as in episodes of the television show Charmed, and was a focus set in the episode "Size Matters".

The second house is at 1329 Carroll Avenue. The exterior of this house has been shown, in one way or another, in all 178 episodes of Charmed, through eight seasons, from 1999 to 2006. In the show the house was dubbed "Halliwell Manor". The house depicted in the show shares the same house number, 1329, but is on the fictional Prescott Street in San Francisco.

Chateau-sur-Mer, on Bellevue Avenue in Newport, Rhode Island, was altered and expanded during the gilded age to incorporate an Eastlake style billiard room and bedrooms.

Glenview Mansion in Yonkers, New York, also known as the John Bond Trevor Home, was completed in 1877. Glenview is now part of the Hudson River Museum and has six interpreted period rooms in the Eastlake style.

title: Eastlake movement


text:
Nectocaris

Nectocaris is a genus of squid-like animal of controversial affinities known from the Cambrian period. The initial fossils were described from the Burgess Shale of Canada. Other similar remains possibly referrable to the genus are known from the Emu Bay Shale of Australia and Chengjiang Biota of China.

Nectocaris was a free-swimming, predatory or scavenging organism. This lifestyle is reflected in its binomial name: Nectocaris means "swimming shrimp" (from the Ancient Greek νηκτόν, nekton, meaning "swimmer" and καρίς, karis, "shrimp"). Two morphs are known: a small morph, about an inch long, and a large morph, anatomically identical but around four times longer.

Nectocaridids have controversial affinities. Some authors have suggested that they represent the earliest known cephalopods. However, their morphology is strongly dissimilar to confirmed early cephalopods, and thus their affinities to cephalopods and even to molluscs more broadly are rejected by most authors. Their affinities to any animal group beyond Bilateria are uncertain, though they have been suggested to be members of Lophotrochozoa.

The closely related Ordovician taxon Nectocotis is a second genus, closely resembling Nectocaris, but suggested to have had an internal skeletal element.

Anatomy
Nectocaris had a flattened, kite-shaped body with a fleshy fin running along the length of each side. The small head had two stalked eyes, a single pair of tentacles, and a flexible funnel-shaped structure opening out to the underside of the body. The funnel often gets wider away from the head. The funnel has been suggested to represent an eversible (able to be turned inside out) pharynx. Internally, a long cavity runs along the body axis, which is suggested to represent the digestive tract. The body contains a pair of gills; the gills comprise blades emerging from a zig-zag axis. Muscle blocks surrounded the axial cavity, and are now preserved as dark blocks in the lateral body. The fins also show dark blocks, with fine striations superimposed over them. These striations often stand in high relief above the rock surface itself.

Diversity
Although Nectocaris is known from Canada, China and Australia, in rocks spanning some 20 million years, there does not seem to be much diversity; size excepted, all specimens are anatomically very similar. Historically, three genera have been erected for nectocaridid taxa from different localities, but these 'species' – Petalilium latus and Vetustovermis planus – likely belong to the same genus or even the same species as N. pteryx. Within N. pteryx, there seem to be two discrete morphs, one large (~10 cm in length), one small (~3 cm long). These perhaps represent separate male and female forms.

Ecology
The unusual shape of the nectocaridid funnel has led to its interpretation as an eversible proboscis. Martin R. Smith and Jean-Bernard Caron have suggested that it was used for jet propulsion, though this has been questioned by other authors. The eyes of Nectocaris would have had a similar visual acuity to modern Nautilus (if they lacked a lens) or squid (if they did not). They are thought to have been freely-swimming nektonic organisms, that were either scavengers or predators on soft-bodied animals, using their tentacles to manipulate food items.

Affinity
The affinity of Nectocaris is controversial. Martin R. Smith and Jean-Bernard Caron have suggested that nectocaridids represent early cephalopods. In a 2010 publication in Nature, they suggested that the ancestor of modern cephalopods and nectocaridids probably lacked a mineralised shell, while Smith in a later 2013 publication suggested that it may be more plausible that nectocaridids had instead lost a mineralised shell and developed a morphology convergent on modern coleoids. However, other authors contend that the morphology of nectocaridids is contrary to what is known about cephalopod and mollusc evolution, and they cannot be accommodated within these groups, and can only be confidently placed as members of Bilateria.

History of study
Nectocaris has a long and convoluted history of study. Charles Doolittle Walcott, the discoverer of the Burgess Shale, had photographed the one specimen he had collected in the 1910s, but never had time to investigate it further. As such, it was not until 1976 that Nectocaris was formally described, by Simon Conway Morris.

Because the genus was originally known from a single, incomplete specimen and with no counterpart, Conway Morris was unable to deduce its affinity. It had some features which were reminiscent of arthropods, but these could well have been convergently derived. Its fins were very unlike those of arthropods.

Working from photographs, the Italian palaeontologist Alberto Simonetta believed he could classify Nectocaris within the chordates. He focussed mainly on the tail and fin morphology, interpreting Conway Morris's 'gut' as a notochord – a distinctive chordate feature.

The classification of Nectocaris was revisited in 2010, when Martin Smith and Jean-Bernard Caron described 91 additional specimens, many of them better preserved than the type. These allowed them to reinterpret Nectocaris as a primitive cephalopod, with only 2 tentacles instead of the 8 or 10 limbs of modern cephalopods. The structure previous researchers had identified as an oval carapace or shield behind the eyes was suggested to be a soft funnel, similar to the ones used for propulsion by modern cephalopods. The interpretation would push back the origin of cephalopods by at least 30 million years, much closer to the first appearance of complex animals, in the Cambrian explosion, and implied that – against the widespread expectation – cephalopods evolved from non-mineralized ancestors.

Later independent analyses questioned the cephalopod interpretation, stating that it did not square with the established theory of cephalopod evolution, and that nectocaridids should be considered incertae sedis among Bilateria.

Vetustovermis
Vetustovermis (from Latin: "very old worm") is a soft-bodied middle Cambrian animal, known from a single reported fossil specimen from the South Australian Emu Bay shale. It is probably a junior synonym of Nectocaris pteryx.

The original description of Vetustovermis hedged its bets regarding classification, but tentatively highlighted some similarities with the annelid worms. It was later considered an arthropod, and in 2010 Smith and Caron, agreeing that Petalilium was at least a close relative of Vetustovermis (but that treating it as a synonym was premature, given the poor preservation of the Vetustovermis type), placed it with Nectocaris in the clade Nectocarididae.

Early press reports misspelled the genus name as Vetustodermis.

Petalilium
Petalilium (sometimes misspelled Petalium) is an enigmatic genus of Cambrian organism known from the Haikou area, from the Maotianshan mudstone member of the Chengjiang biota. The taxon is a junior synonym of Nectocaris pteryx.

Fossils of Petalilium show a dorsoventrally flattened body, usually 5 to 6 centimetres, but ranging from 1.5 to 10 cm. It has an ovate trunk region and a large muscular foot, and a head with stalked eyes and a pair of long tentacles. The trunk region possesses about 50 soft, flexible, transverse bars, lateral serialised structures of unknown function. The upper part of the body, interpreted as a mantle, is covered with a random array of spines on the back, while gills project underneath. A complete, tubular gut runs the length of the body.

Whilst it was originally described as a phyllocarid, and a ctenophore affinity has been suggested, neither interpretation is supported by any compelling evidence.

Some of the characters observed in Chen et al.'s (2005) study suggested that Petalilium may be related to Nectocaris.

title: Nectocaris


text:
Pinocchio (1940 film)

Pinocchio is a 1940 American animated musical fantasy film produced by Walt Disney Productions and released by RKO Radio Pictures. Loosely based on Carlo Collodi's 1883 Italian children's novel The Adventures of Pinocchio, it is the studio's second animated feature film, as well as the third animated film overall produced by an American film studio, after Disney's Snow White and the Seven Dwarfs (1937) and Fleischer Studios' Gulliver's Travels (1939). With the voices of Cliff Edwards, Dickie Jones, Christian Rub, Walter Catlett, Charles Judels, Evelyn Venable, and Frankie Darro, the film follows a wooden puppet, Pinocchio, who is created by an old woodcarver, Geppetto, and brought to life by a blue fairy. Wishing to become a real boy, Pinocchio must prove himself to be "brave, truthful, and unselfish." Along his journey, Pinocchio encounters several characters representing the temptations and consequences of wrongdoing, as a cricket named Jiminy, who takes the role of Pinocchio's conscience, attempts to guide him in matters of right and wrong.

The film was adapted by several storyboard artists from Collodi's book. The production was supervised by Ben Sharpsteen and Hamilton Luske, and the film's sequences were directed by Norman Ferguson, T. Hee, Wilfred Jackson, Jack Kinney, and Bill Roberts. Pinocchio was a groundbreaking achievement in the area of effects animation, giving realistic movement to vehicles and machinery as well as natural elements such as rain, water, lightning, smoke, and shadow. After premiering at the Center Theatre in New York City on February 7, 1940, Pinocchio was released in theatres on February 23, 1940.

Although it received critical acclaim and became the first animated feature to win a competitive Academy Award — winning two for Best Music, Original Score and for Best Music, Original Song for "When You Wish Upon a Star" — it was initially a commercial failure, mainly due to World War II cutting off the European and Asian markets. It eventually made a profit after its 1945 rerelease, and is considered one of the greatest animated films ever made, with a rating on the website Rotten Tomatoes. The film and characters are still prevalent in popular culture, featuring at various Disney parks and other forms of entertainment. In 1994, Pinocchio was added to the United States National Film Registry for being deemed "culturally, historically, or aesthetically significant."

In 2000, a live-action made-for-television semi-remake and musical film titled Geppetto, told from Geppetto's perspective, was released via ABC. A live-action remake of the same title directed by Robert Zemeckis was released in 2022 on Disney+.

Plot
In late-19th century Italy, Jiminy Cricket arrives at the shop of a woodworker and toymaker named Geppetto, who creates a puppet he names Pinocchio. As he falls asleep, Geppetto wishes upon a star for Pinocchio to be a real boy. Late that night, the Blue Fairy visits the workshop and brings Pinocchio to life, although he remains a puppet. She informs him that if he proves himself to be brave, truthful, and unselfish, he will become a real boy. When Jiminy reveals himself, the Blue Fairy assigns him to be Pinocchio's conscience. Geppetto awakens upon hearing the commotion from Pinocchio falling, and is overjoyed to discover that he is alive and will become a real boy.

The next morning, while walking to school, Pinocchio is led astray by con artist fox Honest John and his sidekick Gideon the Cat. Honest John convinces him to join Stromboli's puppet show, despite Jiminy's protestations. Pinocchio becomes Stromboli's star attraction, but when he tries to go home, Stromboli locks him in a bird cage and leaves to tour the world with Pinocchio. After Jiminy unsuccessfully tries to free his friend, the Blue Fairy appears, and an anxious Pinocchio lies about what happened, causing his nose to grow. The Blue Fairy restores his nose and frees Pinocchio when he promises to make amends, but warns him that she can offer no further help.

Meanwhile, a mysterious Coachman hires Honest John to find disobedient and naughty boys for him to take to Pleasure Island, a notorious and infamous place. Honest John, despite the legal risks and the Coachman's implication of what happens to the boys, persuades Pinocchio to take a vacation on Pleasure Island. On the way to the island, Pinocchio befriends Lampwick, a delinquent boy. At Pleasure Island, without rules or authority to enforce their activity, Pinocchio, Lampwick, and many other boys soon engage in vices such as vandalism, fighting, smoking and drinking. Jiminy eventually finds Pinocchio in a bar smoking and playing pool with Lampwick, and the two have a falling out after Pinocchio defends Lampwick for his actions. As Jiminy tries leaving Pleasure Island, he discovers that the island hides a horrible curse that transforms the boys into donkeys after making "jackasses" of themselves, and they are sold by the Coachman into slave labor. Pinocchio witnesses Lampwick transform into a donkey, and with Jiminy's help, he flees before he can be fully transformed, though he still has a donkey's ears and tail.

Upon returning home, Pinocchio and Jiminy find Geppetto's workshop deserted, and obtain a letter from the Blue Fairy in the form of a dove, stating that Geppetto had sailed to Pleasure Island in search of Pinocchio. He was swallowed by a gigantic and vicious sperm whale called Monstro and is now trapped in its belly. Determined to rescue his father, Pinocchio jumps into the Mediterranean Sea with Jiminy and is soon swallowed by Monstro, where he reunites with Geppetto. Pinocchio devises a scheme to make Monstro sneeze and allow them to escape, but the whale chases them and destroys their raft with his tail. Pinocchio selflessly pulls Geppetto to safety in a cove just as Monstro crashes into it and Pinocchio is killed.

Back at home, Geppetto, Jiminy, Figaro, and Cleo mourn Pinocchio. Having succeeded in proving himself brave, truthful, and unselfish, Pinocchio is revived and turned into a real human boy by the Blue Fairy, much to everyone's joy. As the group celebrates, Jiminy steps outside to thank the Fairy and is rewarded with a solid gold badge that certifies him as an official conscience.

Voice cast

 * Dick Jones as Pinocchio, a wooden puppet carved by Geppetto and brought to life by the Blue Fairy.
 * Jones also voiced Alexander, a boy who is turned into a donkey at Pleasure Island, but still talks.
 * Cliff Edwards as Jiminy Cricket, a cricket who acts as Pinocchio's "conscience" and is the partial narrator of the story.
 * Christian Rub as Geppetto, an elderly wood-carver and Pinocchio's creator, who wishes for him to become a real boy.
 * Clarence Nash as Figaro, Geppetto's pet cat who is prone to sulk. Cleo, Geppetto's pet goldfish with a habit of being Figaro's counselor, is unvoiced. Figaro and Cleo were original characters not present in the original story, and were added to the script by the Disney team. Nash also voices the rough house statue and makes the braying sounds for the donkeys on Pleasure Island, after the boys have been transformed into them.
 * Walter Catlett as "Honest" John Worthington Foulfellow, an anthropomorphic red fox con artist who swindles Pinocchio.
 * Gideon the Cat, Honest John's mute anthropomorphic feline partner and sidekick who serves as comic relief. He was originally intended to be voiced by Mel Blanc, in his second work for Disney until his final work in Who Framed Roger Rabbit, but the filmmakers instead went with a mute performance for the character. However, Gideon's hiccups were provided by Blanc.
 * Charles Judels as Stromboli, a puppeteer who buys Pinocchio for a miserable amount of money from Honest John & Gideon and intends to force said Pinocchio to perform onstage to make money and use as "firewood" once he gets "too old" to perform. He speaks English with an Italian accent, and curses in Italian gibberish when angry. He is called "gypsy" by Honest John, likely due to his theatre and caravan always travelling, as well as other names like "rascal" and "faker".
 * Judels also voiced The Coachman, the owner and operator of Pleasure Island.
 * Evelyn Venable as the Blue Fairy, who brings Pinocchio to life and promises to turn him into a real boy if he proves himself brave, truthful, and selfless. Live-action references for the Blue Fairy were provided by Marge Champion, who served as the live-action reference for the titular heroine in Snow White and the Seven Dwarfs.
 * Frankie Darro as Lampwick, a boy who Pinocchio befriends on his way to Pleasure Island and is turned into a donkey for his mischief.
 * Stuart Buchanan as the Carnival Barker, the announcer at Pleasure Island. In a book adaptation of the film, "Barker" is the Coachman's name or alias.
 * Thurl Ravenscroft as Monstro, the sperm whale. He swallows Pinocchio, Geppetto, Figaro, and Cleo, then tries to kill them after they escape from his belly by making him sneeze.

The voice cast was all uncredited, as was the practice at the time for many animated films.

Development
In September 1937, during the production of Snow White and the Seven Dwarfs, animator Norman Ferguson brought a translated version of Carlo Collodi's 1883 Italian children's novel The Adventures of Pinocchio to the attention of Walt Disney. After reading the book, "Walt was busting his guts with enthusiasm," as Ferguson later recalled. Disney then commissioned storyboard artist Bianca Majolie to write a new story outline for the book, but after reading it, he felt her outline was too faithful. Pinocchio was intended to be the studio's third feature, after Bambi (1942). However, due to difficulties with Bambi (adapting the story and animating the animals realistically), Disney announced that Bambi would be postponed while Pinocchio would move ahead in production. Ben Sharpsteen was then re-assigned to supervise the production while Jack Kinney was given directional reins.

Writing and design
Unlike Snow White, which was a short story that the writers could expand and experiment with, Pinocchio was based on a novel with a very fixed, although episodic, story. Therefore, the story went through drastic changes before reaching its final incarnation. In the original novel, Pinocchio is a cold, rude, ungrateful, inhuman brat that often repels sympathy and only learns his lessons the hard way. The writers decided to modernize the character and depict him similar to Edgar Bergen's dummy Charlie McCarthy, but equally as rambunctious as the puppet in the book. The story was still being developed in the early stages of animation.

Early scenes animated by Frank Thomas and Ollie Johnston show that Pinocchio's design was exactly like a real wooden puppet with a long pointed nose, a peaked cap, and bare wooden hands. Disney, however, was not impressed with the work that was being done on the film. He felt that no one could really sympathize with such a character and called for an immediate halt in production. Fred Moore redesigned the character slightly to make him more appealing, but the design still retained a wooden feel.

Young and upcoming animator Milt Kahl felt that Thomas, Johnston, and Moore were "rather obsessed with the idea of this boy being a wooden puppet" and felt that they should "forget that he was a puppet and get a cute little boy; you can always draw the wooden joints and make him a wooden puppet afterwards." Co-supervising director Hamilton Luske suggested to Kahl that he should demonstrate his beliefs by animating a test sequence.

Kahl then showed Disney an animation test scene in which Pinocchio is underwater looking for his father. From this scene, Kahl re-envisioned the character by making him look more like a real boy, with a child's Tyrolean hat and standard cartoon character four-fingered (or three and a thumb) hands with Mickey Mouse-type gloves. The only parts of Pinocchio that still looked more or less like a puppet were his arms, legs, and little button wooden nose. Disney embraced Kahl's scene and immediately urged the writers to evolve Pinocchio into a more innocent, naïve, somewhat coy personality reflecting Kahl's design.

However, Disney discovered that the new Pinocchio was too helpless and was far too often led astray by deceiving characters. Therefore, in the summer of 1938, Disney and his story team established the character of the cricket. Originally, the talking cricket was only a minor character whom Pinocchio abruptly killed by squashing with a mallet and who later returned as a ghost. Disney dubbed the cricket "Jiminy", and made him a character who would try to guide Pinocchio into the right decisions. Once the character was expanded, he was depicted as a realistic cricket with toothed legs and waving antennae, but Disney wanted something more likable. Ward Kimball had spent several months animating two sequences—a soup-eating musical number and a bed-building sequence—in Snow White, which was cut from the film due to pacing reasons. Kimball was about to quit when Disney rewarded him for his work by promoting him to the supervising animator of Jiminy Cricket. Kimball then conjured up the design for Jiminy Cricket, whom he described as a little man with an egg head and no ears. Jiminy "was a cricket because we called him a cricket," Kimball later joked.

Casting
Due to the huge success of Snow White, Walt Disney wanted more famous voices for Pinocchio, which marked the first time an animated film had used celebrities as voice actors. He cast popular singer Cliff Edwards, also known as "Ukulele Ike", as Jiminy Cricket. Disney rejected the idea of having an adult play Pinocchio and insisted that the character be voiced by a real child. He cast 11-year-old child actor Dickie Jones, who had previously been in Frank Capra's Mr. Smith Goes to Washington (1939). He also cast Frankie Darro as Lampwick, Walter Catlett as "Honest" John Foulfellow the Fox, Evelyn Venable as the Blue Fairy, Charles Judels as both the villainous Stromboli and the Coachman, and Christian Rub as Geppetto, whose design was even a caricature of Rub. Another actor voiced Geppetto originally, but Disney recast him with Rub after feeling that his voice was "too harsh".

Another voice actor recruited was Mel Blanc, best remembered for voicing many of the characters in Warner Bros. cartoon shorts, including Looney Tunes and Merrie Melodies. Blanc recorded the voice of Gideon the Cat in sixteen days. However, it was eventually decided that Gideon would be mute, so all of Blanc's recorded dialogue was subsequently deleted except for a solitary hiccup, which was heard three times in the finished film.

Animation
Animation on the film began in January 1938, but work on Pinocchio's animation was discontinued as the writers sought to re-work his characterization and the film's narrative structure. However, animation on the film's supporting characters started in April 1938. Animation would not resume again with the revised story until September.

During the production of the film, story artist Joe Grant formed a character model department, which would be responsible for building three-dimensional clay models of the characters in the film, known as maquettes. These models were then given to the staff to observe how a character should be drawn from any given angle desired by the artists. The model makers also built working models of Geppetto's elaborate cuckoo clocks designed by Albert Hurter, as well as Stromboli's gypsy wagon and wooden cage, and the Coachman's carriage. However, owing to the difficulty of animating a realistic moving vehicle, the artists filmed the carriage maquettes on a miniature set using stop motion animation. Then, each frame of the animation was transferred onto animation cels using an early version of a Xerox. The cels were then painted on the back and overlaid on top of background images with the cels of the characters to create the completed shot on the rostrum camera. Like Snow White, live-action footage was shot for Pinocchio with the actors playing the scenes in pantomime, supervised by Luske. Rather than tracing, which would result in stiff unnatural movement, the animators used the footage as a guide for animation by studying human movement and then incorporating some poses into the animation (though slightly exaggerated).

Pinocchio was a groundbreaking achievement in the area of effects animation, led by Joshua Meador. In contrast to the character animators who concentrate on the acting of the characters, effects animators create everything that moves other than the characters—vehicles, machinery, and natural effects such as rain, lightning, snow, smoke, shadows and water, as well as the fantasy or science-fiction type effects like the pixie dust of Peter Pan (1953). The influential abstract animator Oskar Fischinger, who mainly worked on Fantasia (1940), contributed to the effects animation of the Blue Fairy's wand. Effects animator Sandy Strother kept a diary about his year-long animation of the water effects, which included splashes, ripples, bubbles, waves, and the illusion of being underwater. To help give depth to the ocean, the animators put more detail into the waves on the water surface in the foreground, and put in less detail as the surface moved further back. After the animation was traced onto cels, the assistant animators would trace it once more with blue and black pencil leads to give the waves a sculptured look. To save time and money, the splashes were kept impressionistic. These techniques enabled Pinocchio to be one of the first animated films to have highly realistic effects animation. Ollie Johnston called it "one of the finest things the studio's ever done, as Frank Thomas said, 'The water looks so real a person can drown in it, and they do.'"

Music
The songs in Pinocchio were composed by Leigh Harline with lyrics by Ned Washington. Harline and Paul J. Smith composed the incidental music score. The climactic Whale Chase was co-composed by Edward H. Plumb. The soundtrack was first released on February 9, 1940. Jiminy Cricket's song, "When You Wish Upon A Star", became a major hit and is still identified with the film, and later as the theme song of The Walt Disney Company itself. The soundtrack won an Academy Award for Best Original Score.

Themes

M. Keith Booker considers the film to be the most down-to-earth of the Disney animated films despite its theme song and magic, and notes that the film's protagonist has to work to prove his worth, which he remarked seemed "more in line with the ethos of capitalism" than most of the Disney films. Claudia Mitchell and Jacqueline Reid-Walsh believe that the male protagonists of films like Pinocchio and Bambi (1942) were purposefully constructed by Disney to appeal to both boys and girls. Mark I. Pinsky said that it is "a simple morality tale—cautionary and schematic—ideal for moral instruction, save for some of its darker moments", and noted that the film is a favorite of parents of young children.

Nicolas Sammond argues that the film is "an apt metaphor for the metaphysics of midcentury American child-rearing" and that the film is "ultimately an assimilationist fable". He considered it to be the central Disney film and the most strongly middle class, intended to relay the message that indulging in "the pleasures of the working class, of vaudeville, or of pool halls and amusement parks, led to a life as a beast of burden". For Sammond, the purpose of Pinocchio is to help convey to children the "middle-class virtues of deferred gratification, self-denial, thrift, and perseverance, naturalized as the experience of the most average American".

Author and illustrator Maurice Sendak, who saw the film in theaters in 1940, called the film superior to Collodi's novel in its depiction of children and growing up. "The Pinocchio in the film is not the unruly, sulking, vicious, devious (albeit still charming) marionette that Collodi created. Neither is he an innately evil, doomed-to-calamity child of sin. He is, rather, both lovable and loved. Therein lies Disney's triumph. His Pinocchio is a mischievous, innocent and very naive little wooden boy. What makes our anxiety over his fate endurable is a reassuring sense that Pinocchio is loved for himself – and not for what he should or shouldn't be. Disney has corrected a terrible wrong. Pinocchio, he says, is good; his "badness" is only a matter of inexperience," and also that "Pinocchio's wish to be a real boy remains the film's underlying theme, but "becoming a real boy" now signifies the wish to grow up, not the wish to be good."

Canadian psychologist Jordan Peterson has spoken about the film in his lectures extensively, citing it as an example of "the manner in which great mythological and archetypal themes inform and permeate narrative."

Home media
On July 16, 1985, it was released on VHS, Betamax, CED, and LaserDisc in North America for the first time as part of the Walt Disney Classics label, the second title with the Classics label after Robin Hood (1973) which was released the previous December. It would become the best-selling home video title of the year selling 130–150,000 units at $80 each. It was re-issued on October 14, 1986 to advertise the home video debut of Sleeping Beauty (1959), this release also helped leave out the preview of The Black Cauldron from the original 1985 VHS release due to the preview being too dark and scary for kids. Then, for the first time, it was released on VHS in the UK in 1988, 1995, and 2000. The digital restoration that was completed for the 1992 cinema re-issue was released on VHS and Laserdisc on March 26, 1993 and sold 13.5 million copies. Its fourth VHS release and first release on Disney DVD was the 60th Anniversary Edition released on October 25, 1999.

The film was re-issued on DVD and one final time on VHS as part of the Walt Disney Gold Classic Collection release on March 7, 2000. Along the film, the VHS edition also contained a making-of documentary while the DVD had the film's original theatrical trailer as supplemental features. The Gold Classic Collection release was returned to the Disney Vault on January 31, 2002.

A special edition VHS and DVD of the film was released in the United Kingdom on March 3, 2003. The fourth DVD release and first Blu-ray Disc release (the second Blu-ray in the Walt Disney Platinum Editions series) was the 70th Anniversary Edition released on March 10, 2009. Like the 2008 Sleeping Beauty Blu-ray release, the Pinocchio Blu-ray package featured a new restoration by Lowry Digital in a two-disc Blu-ray set, with a bonus DVD version of the film also included. This set returned to the Disney Vault on April 30, 2011. A Signature Edition was released on Digital HD on January 10, 2017 and was followed by a Blu-ray/DVD combo pack on January 31, 2017.

Initial release

Frank S. Nugent of The New York Times gave the film five out of five stars, saying "Pinocchio is here at last, is every bit as fine as we had prayed it would be—if not finer—and that it is as gay and clever and delightful a fantasy as any well-behaved youngster or jaded oldster could hope to see." Time magazine gave the film a positive review, stating "In craftsmanship and delicacy of drawing and coloring, in the articulation of its dozens of characters, in the greater variety and depth of its photographic effects, it tops the high standard Snow White set. The charm, humor and loving care with which it treats its inanimate characters puts it in a class by itself."

Variety praised the animation as superior to Snow White's writing the "[a]nimation is so smooth that cartoon figures carry impression of real persons and settings rather than drawings to onlooker." In summary, they felt Pinocchio "will stand on [its] own as a substantial piece of entertainment for young and old, providing attention through its perfection in animation and photographic effects. The Hollywood Reporter wrote "Pinocchio is entertainment for every one of every age, so completely charming and delightful that there is profound regret when it reaches the final fade-out. Since comparisons will be inevitable, it may as well be said at once that, from a technical standpoint, conception and production, this picture is infinitely superior to Snow White."

Box office
At first, Pinocchio was not a box-office success. The box office returns from the film's initial release were both below Snow White's unprecedented success and below studio expectations. Of the film's $2.6 million negative cost—twice the cost of Snow White—Disney only recouped $1 million by late 1940, with studio reports of the film's final original box office take varying between $1.4 million and $1.9 million. Animation historian Michael Barrier notes that Pinocchio returned rentals of less than one million by September 1940, and in its first public annual report, Walt Disney Productions charged off a $1 million loss to the film. Barrier relays that a 1947 Pinocchio balance sheet listed total receipts to the studio of $1.4 million. This was primarily due to the fact that World War II and its aftermath had cut off the European and Asian markets overseas, and hindered the international success of Pinocchio and other Disney releases during the early and mid-1940s. Joe Grant recalled Walt Disney being "very, very depressed" about Pinocchio's initial returns at the box office. The distributor RKO recorded a loss of $94,000 for the film from worldwide rentals of $3,238,000.

Accolades
The film was nominated and won two Academy Awards in 1940 for Best Original Score and Best Original Song (for "When You Wish Upon a Star"), the first Disney film to win either category. To date, only six other Disney films have made this achievement: Mary Poppins (1964), The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), and Pocahontas (1995).

Reissues
With the re-release of Snow White and the Seven Dwarfs in 1944 came the tradition of re-releasing Disney films every seven to ten years. Pinocchio was theatrically re-released in 1945, 1954, 1962, 1971, 1978, 1984, and 1992. RKO handled the first two reissues in 1945 and 1954, while Disney itself reissued the film from 1962 on through its Buena Vista Distribution division. The 1992 re-issue was digitally restored by cleaning and removing scratches from the original negatives one frame at a time, eliminating soundtrack distortions, and revitalizing the color.

Despite its initial struggles at the box office, a series of reissues in the years after World War II proved more successful and allowed the film to turn a profit. By 1973, the film had earned rentals of $13 million in the United States and Canada from the initial 1940 release and four reissues. After the 1978 reissue, the rentals had increased to $19.9 million from a total gross of $39 million. The 1984 reissue grossed $26.4 million in the U.S. and Canada, bringing its total gross there to $65.4 million and $145 million worldwide. The 1992 reissue grossed $18.9 million in the U.S. and Canada bringing Pinocchio's lifetime gross to $84.3 million at the U.S. and Canadian box office.

Modern acclaim
On the review aggregator website Rotten Tomatoes, the film has a rating of, with an average rating of. The general consensus of the film on the site is "Ambitious, adventurous, and sometimes frightening, Pinocchio arguably represents the pinnacle of Disney's collected works – it's beautifully crafted and emotionally resonant.". On Metacritic, Pinocchio has a weighted score of 99 out of 100 based on 17 critics, indicating "universal acclaim". It is currently the highest-rated animated film on the site, as well as the highest-rated Disney animated film.

Many film historians consider this to be the film that most closely approaches technical perfection of all the Disney animated features. Film critic Leonard Maltin said, "with Pinocchio, Disney reached not only the height of his powers, but the apex of what many critics consider to be the realm of the animated cartoon."

In 1994, Pinocchio was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant". Filmmaker Terry Gilliam selected it as one of the ten best animated films of all time in a 2001 article written for The Guardian and in 2005, Time magazine named it one of the 100 best films of the last 80 years, and then in June 2011 named it the best animated movie of "The 25 All-TIME Best Animated Films".

In June 2008, the American Film Institute revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Pinocchio was acknowledged as the second best film in the medium of animation, after Snow White. It was nominated for the AFI's 100 Years...100 Movies, and received further nominations for their Thrills and Heroes and Villains (Stromboli in the villains category) lists. The song "When You Wish Upon A Star" ranked number 7 on their 100 Songs list, and the film ranked 38th in the 100 Cheers list. The quote "A lie keeps growing and growing until it's as plain as the nose on your face" was nominated for the Movie Quotes list, and the film received further nomination in the AFI's Greatest Movie Musicals list.

On June 29, 2018, Pinocchio was named the 13th best Disney animated film by IGN. Film critic Roger Ebert, adding it to his list of "Great Movies", wrote that the movie "isn't just a concocted fable or a silly fairy tale, but a narrative with deep archetypal reverberations."

Legacy
After the film, Jiminy Cricket became an iconic Disney character, making numerous other appearances in a major role, including the film Fun and Fancy Free (1947), educational serials from The Mickey Mouse Club (1955–1977), the featurette Mickey's Christmas Carol (1983), and the video game Disney's Villains' Revenge (1999).

Figaro, Geppetto's kitten, primarily animated by Eric Larson, has been described as a "hit with the audiences", which resulted in him making appearances in several subsequent Disney short films in the 1940s. He continues to appear in multiple media, mostly as the pet of Minnie Mouse.

The Blue Fairy is the main character in the prequel novel When You Wish Upon a Star which is mostly set 40 years prior to the events of the film. It was written by Elizabeth Lim and published on April 4, 2023 as part of Disney's A Twisted Tale anthology series. The story details her origins as Chiara Belmagio, a baker's eldest daughter and philanthropist in the small Italian town of Pariva, her complex relationship with her narcissistic younger sister Ilaria and her eventual transformation into a fairy.

Many of Pinocchio's characters are costumed characters at Disney parks. Pinocchio's Daring Journey is a popular ride at the original Disneyland, Tokyo Disneyland, and Disneyland Park in Paris. Pinocchio Village Haus is a quick service restaurant at Walt Disney World that serves pizza and macaroni and cheese. There are similar quick-service restaurants at the Disneyland parks in Anaheim and Paris as well, with almost identical names.

Disney on Ice starring Pinocchio, toured internationally from 1987 to 1992. A shorter version of the story is also presented in the current Disney on Ice production "One Hundred Years of Magic".

Like other Walt Disney Animation Studios characters, the characters from Pinocchio have cameo appearances in the short film Once Upon a Studio (2023).

Cancelled sequel
In the mid-2000s, Disneytoon Studios began development on a direct-to-video sequel to Pinocchio. Robert Reece co-wrote the film's screenplay, which saw Pinocchio on a "strange journey" for the sake of something dear to him. "It's a story that leads Pinocchio to question why life appears unfair sometimes," said Reece. John Lasseter cancelled Pinocchio II soon after being named Chief Creative Officer of Walt Disney Animation Studios in 2006.

Geppetto
A Disney's made-for-television movie titled Geppetto was released in 2000. It was based on a book by David Stern, which was a re-telling of the original 1883 original Pinocchio book but told from Geppetto's perspective. While not a direct adaptation of the 1940 animated film, it features few commons elements such as the character of Figaro, the song "I've Got No Strings", and Pleasure Island. It stars Drew Carey as Geppetto and Seth Adkins as Pinocchio, and features music and lyrics by Stephen Schwartz.

The movie was in turn adapted into a musical, Disney's My Son Pinocchio: Geppetto's Musical Tale, which premiered at The Coterie Theatre, Kansas City, Missouri in 2006.

2022 remake
A live-action adaptation directed by Robert Zemeckis who also co-produced and co-written with Chris Weitz,   and stars Tom Hanks as Geppetto, Benjamin Evan Ainsworth as Pinocchio, Joseph Gordon-Levitt as Jiminy Cricket, Cynthia Erivo as the Blue Fairy, Keegan-Michael Key as Honest John, Luke Evans as the Coachman and Lorraine Bracco as a new character named Sofia the Seagull. The film was released to the streaming service Disney+ on September 8, 2022.

In other media
The Silly Symphony Sunday comic strip published an adaptation of Pinocchio from December 24, 1939 to April 7, 1940. The sequences were scripted by Merrill De Maris and drawn by Hank Porter.

Video games
Aside from the Sega Genesis/Mega Drive, Game Boy, and SNES games based on the animated film, the characters appear in several Disney video games.

Jiminy Cricket appears as a main character in Disney's Villains' Revenge, being player's guide during the progress of the game.

In the Kingdom Hearts series, Jiminy Cricket appears acting as a recorder, keeping a journal of the game's progress in Kingdom Hearts, Kingdom Hearts: Chain of Memories, Kingdom Hearts II, and Kingdom Hearts III. Pinocchio, Geppetto and Cleo also appear as characters in Kingdom Hearts. and the inside of Monstro is also featured as one of the worlds. Pinocchio's home world was slated to appear in Kingdom Hearts 358/2 Days, but was omitted due to time restrictions, although talk-sprites of Pinocchio, Geppetto, Honest John and Gideon have been revealed. As compensation, this world appears in Kingdom Hearts 3D: Dream Drop Distance, under the name "Prankster's Paradise", with Dream world versions of Pinocchio, Jiminy Cricket, Geppetto, Monstro and the Blue Fairy appearing.

Pinocchio, Jiminy Cricket, Geppetto, Figaro, the Blue Fairy, Honest John and Stromboli appear as playable characters in the video game Disney Magic Kingdoms, along with some attractions based on locations of the film. Monstro also appeared temporarily as a non-player character for a Boss Battle during the limited time "Pinocchio Event" in which the characters and material related to the film were included. In the game, the characters are involved in new storylines that serve as a continuation of the film.

title: Pinocchio (1940 film)