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referred to experiments, and the most coveted ones were not those which were bizarre, but the ones which had been proven to yield the desired outcome. Some women known for their interest in alchemy were Catherine de' Medici, the Queen of France, and Marie de' Medici, the following Queen of France, who carried out experiments in her personal laboratory. Also, Isabella d'Este, the Marchioness of Mantua, made perfumes herself to serve as gifts. In this period, the only book of secrets ascribed to a woman was ('The Secrets of Signora Isabella Cortese'). This book contained information on how to turn base metals into gold, medicine, and cosmetics. However, it is rumored that a man, Girolamo Ruscelli, was the real author and only used a female voice to attract female readers. This contributed to a bigger problem in which male authors would credit prominent noblewomen for beauty products with the purpose of appealing to a female audience. For example, in ("Gallant Recipe-Book"), the distillation of lemons and roses was attributed to Elisabetta Gonzaga, the duchess of Urbino. In the same book, Isabella d'Aragona, the daughter of Alfonso II of Naples, is accredited for recipes involving alum and mercury. Ippolita Maria Sforza is even referred to in an anonymous manuscript about a hand lotion created with rose powder and crushed bones. Mary Anne Atwood's A Suggestive Inquiry into the Hermetic Mystery (1850) marks the return of women during the nineteenth-century occult revival. Modern historical research The history of alchemy has become a significant and recognized subject of academic study. As the language of the alchemists is analyzed, historians are becoming more aware of the intellectual connections between that discipline and other facets of Western cultural history, such as the evolution of science and philosophy, the sociology and psychology of the intellectual communities, kabbalism, spiritualism, Rosicrucianism, and other mystic movements. Institutions involved in this research include The Chymistry of Isaac Newton project at Indiana University, the University of Exeter Centre for the Study of Esotericism (EXESESO), the European Society for the Study of Western Esotericism (ESSWE), and the University of Amsterdam's Sub-department for the History of Hermetic Philosophy and Related Currents. A large collection of books on alchemy is kept in the Bibliotheca Philosophica Hermetica in Amsterdam. A recipe found in a mid-19th-century kabbalah based book features step by step instructions on turning copper into gold. The author attributed this recipe to an |
ancient manuscript he located. Journals which publish regularly on the topic of Alchemy include 'Ambix', published by the Society for the History of Alchemy and Chemistry, and 'Isis', published by The History of Science Society. Core concepts Western alchemical theory corresponds to the worldview of late antiquity in which it was born. Concepts were imported from Neoplatonism and earlier Greek cosmology. As such, the classical elements appear in alchemical writings, as do the seven classical planets and the corresponding seven metals of antiquity. Similarly, the gods of the Roman pantheon who are associated with these luminaries are discussed in alchemical literature. The concepts of prima materia and anima mundi are central to the theory of the philosopher's stone. Magnum opus The Great Work of Alchemy is often described as a series of four stages represented by colors. nigredo, a blackening or melanosis albedo, a whitening or leucosis citrinitas, a yellowing or xanthosis rubedo, a reddening, purpling, or iosis Modernity Due to the complexity and obscurity of alchemical literature, and the 18th-century disappearance of remaining alchemical practitioners into the area of chemistry, the general understanding of alchemy has been strongly influenced by several distinct and radically different interpretations. Those focusing on the exoteric, such as historians of science Lawrence M. Principe and William R. Newman, have interpreted the 'decknamen' (or code words) of alchemy as physical substances. These scholars have reconstructed physicochemical experiments that they say are described in medieval and early modern texts. At the opposite end of the spectrum, focusing on the esoteric, scholars, such as Florin George Călian and Anna Marie Roos, who question the reading of Principe and Newman, interpret these same decknamen as spiritual, religious, or psychological concepts. New interpretations of alchemy are still perpetuated, sometimes merging in concepts from New Age or radical environmentalism movements. Groups like the Rosicrucians and Freemasons have a continued interest in alchemy and its symbolism. Since the Victorian revival of alchemy, "occultists reinterpreted alchemy as a spiritual practice, involving the self-transformation of the practitioner and only incidentally or not at all the transformation of laboratory substances", which has contributed to a merger of magic and alchemy in popular thought. Esoteric interpretations of historical texts In the eyes of a variety of modern esoteric and Neo-Hermeticist practitioners, alchemy is fundamentally spiritual. In this interpretation, transmutation of lead into gold is presented as an analogy for personal transmutation, purification, and perfection. According |
to this view, early alchemists such as Zosimos of Panopolis () highlighted the spiritual nature of the alchemical quest, symbolic of a religious regeneration of the human soul. This approach is held to have continued in the Middle Ages, as metaphysical aspects, substances, physical states, and material processes are supposed to have been used as metaphors for spiritual entities, spiritual states, and, ultimately, transformation. In this sense, the literal meanings of 'Alchemical Formulas' were like a veil, hiding their true spiritual philosophy. In the Neo-Hermeticist interpretation, both the transmutation of common metals into gold and the universal panacea are held to symbolize evolution from an imperfect, diseased, corruptible, and ephemeral state toward a perfect, healthy, incorruptible, and everlasting state, so the philosopher's stone then represented a mystic key that would make this evolution possible. Applied to the alchemist, the twin goal symbolized their evolution from ignorance to enlightenment, and the stone represented a hidden spiritual truth or power that would lead to that goal. In texts that are held to have been written according to this view, the cryptic alchemical symbols, diagrams, and textual imagery of late alchemical works are supposed to contain multiple layers of meanings, allegories, and references to other equally cryptic works; which must be laboriously decoded to discover their true meaning. In his 1766 Alchemical Catechism, Théodore Henri de Tschudi denotes that the usage of the metals was merely symbolic: Psychology Alchemical symbolism has been important in analytical psychology and was revived and popularized from near extinction by the Swiss psychologist Carl Gustav Jung. Jung was initially confounded and at odds with alchemy and its images but after being given a copy of The Secret of the Golden Flower, a Chinese alchemical text translated by his friend Richard Wilhelm, he discovered a direct correlation or parallel between the symbolic images in the alchemical drawings and the inner, symbolic images coming up in his patients' dreams, visions, or fantasies. He observed these alchemical images occurring during the psychic process of transformation, a process that Jung called "individuation." Specifically, he regarded the conjuring up of images of gold or Lapis as symbolic expressions of the origin and goal of this "process of individuation." Together with his alchemical mystica soror (mystical sister) Jungian Swiss analyst Marie-Louise von Franz, Jung began collecting old alchemical texts, compiled a lexicon of key phrases with cross-references, and pored over them. The volumes of |
work he wrote shed new light onto understanding the art of transubstantiation and renewed alchemy's popularity as a symbolic process of coming into wholeness as a human being where opposites are brought into contact and inner and outer, spirit and matter are reunited in the hieros gamos, or divine marriage. His writings are influential in general psychology, but especially to those who have an interest in understanding the importance of dreams, symbols, and the unconscious archetypal forces (archetypes) that comprise all psychic life. Both von Franz and Jung have contributed significantly to the subject and work of alchemy and its continued presence in psychology as well as contemporary culture. Among the volumes Jung wrote on alchemy, his magnum opus is Volume 14 of his Collected Works, Mysterium Coniunctionis. Literature Alchemy has had a long-standing relationship with art, seen both in alchemical texts and in mainstream entertainment. Literary alchemy appears throughout the history of English literature from Shakespeare to J. K. Rowling, and also the popular Japanese manga Fullmetal Alchemist. Here, characters or plot structure follow an alchemical magnum opus. In the 14th century, Chaucer began a trend of alchemical satire that can still be seen in recent fantasy works like those of the late Sir Terry Pratchett. Visual artists had a similar relationship with alchemy. While some of them used alchemy as a source of satire, others worked with the alchemists themselves or integrated alchemical thought or symbols in their work. Music was also present in the works of alchemists and continues to influence popular performers. In the last hundred years, alchemists have been portrayed in a magical and spagyric role in fantasy fiction, film, television, novels, comics and video games. Science One goal of alchemy, the transmutation of base substances into gold, is now known to be impossible by chemical means but possible by physical means. Although not financially worthwhile, Gold was synthesized in particle accelerators as early as 1941. See also Alchemical symbol Corentin Louis Kervran § Biological transmutation Cupellation Historicism History of chemistry List of alchemists List of alchemical substances Nuclear transmutation Outline of alchemy Porta Alchemica Renaissance magic Spagyric Superseded theories in science Synthesis of precious metals Western esotericism Notes References Citations Sources used Bibliography Introductions and textbooks Lawrence Principe, The Secrets of Alchemy, Chicago, 2013. Jennifer M. Rampling. 2020. The Experimental Fire: Inventing English Alchemy, 1300-1700. University of Chicago Press. Greco-Egyptian alchemy Texts Marcellin Berthelot |
and Charles-Émile Ruelle (eds.), Collection des anciens alchimistes grecs (CAAG), 3 vols., 1887–1888, Vol 1: https://gallica.bnf.fr/ark:/12148/bpt6k96492923, Vol 2: https://gallica.bnf.fr/ark:/12148/bpt6k9680734p, Vol. 3: https://gallica.bnf.fr/ark:/12148/bpt6k9634942s. André-Jean Festugière, La Révélation d'Hermès Trismégiste, Paris, Les Belles Lettres, 2014 (, OCLC 897235256). Robert Halleux and Henri-Dominique Saffrey (eds.), Les alchimistes grecs, t. 1 : Papyrus de Leyde – Papyrus de Stockholm – Recettes, Paris, Les Belles Lettres, 1981. Otto Lagercrantz (ed), Papyrus Graecus Holmiensis, Uppsala, A.B. Akademiska Bokhandeln, 1913, Papyrus graecus holmiensis (P. holm.); Recepte für Silber, Steine und Purpur, bearb. von Otto Lagercrantz. Hrsg. mit Unterstützung des Vilh. Ekman'schen Universitätsfonds. Michèle Mertens and Henri-Dominique Saffrey (ed.), Les alchimistes grecs, t. 4.1 : Zosime de Panopolis. Mémoires authentiques, Paris, Les Belles Lettres, 1995. Andrée Collinet and Henri-Dominique Saffrey (ed.), Les alchimistes grecs, t. 10 : L'Anonyme de Zuretti ou l'Art sacré and divin de la chrysopée par un anonyme, Paris, Les Belles Lettres, 2000. Andrée Collinet (ed), Les alchimistes grecs, t. 11 : Recettes alchimiques (Par. Gr. 2419; Holkhamicus 109) – Cosmas le Hiéromoine – Chrysopée, Paris, Les Belles Lettres, 2000. Matteo Martelli (ed), The Four Books of Pseudo-Democritus, Maney Publishing, 2014. Studies Dylan M. Burns, " μίξεώς τινι τέχνῃ κρείττονι : Alchemical Metaphor in the Paraphrase of Shem (NHC VII,1) ", Aries 15 (2015), p. 79–106. Alberto Camplani, " Procedimenti magico-alchemici e discorso filosofico ermetico " in Giuliana Lanata (ed.), Il Tardoantico alle soglie del Duemila, ETS, 2000, p. 73–98. Alberto Camplani and Marco Zambon, " Il sacrificio come problema in alcune correnti filosofice di età imperiale ", Annali di storia dell'esegesi 19 (2002), p. 59–99. Régine Charron and Louis Painchaud, " 'God is a Dyer,' The Background and Significance of a Puzzling Motif in the Coptic Gospel According to Philip (CG II, 3), Le Muséon 114 (2001), p. 41-50. Régine Charron, " The Apocryphon of John (NHC II,1) and the Greco-Egyptian Alchemical Literature ", Vigiliae Christinae 59 (2005), p. 438-456. Philippe Derchain, "L'Atelier des Orfèvres à Dendara et les origines de l'alchimie," Chronique d'Égypte, vol. 65, no 130, 1990, p. 219–242. Korshi Dosoo, " A History of the Theban Magical Library ", Bulletin of the American Society of Papyrologists 53 (2016), p. 251–274. Olivier Dufault, Early Greek Alchemy, Patronage and Innovation in Late Antiquity, California Classical Studies, 2019, Early Greek Alchemy, Patronage and Innovation in Late Antiquity. Sergio Knipe, " Sacrifice and self-transformation in the alchemical writings of Zosimus of Panopolis ", in Christopher |
Kelly, Richard Flower, Michael Stuart Williams (eds.), Unclassical Traditions. Volume II: Perspectives from East and West in Late Antiquity, Cambridge University Press, 2011, p. 59–69. André-Jean Festugière, La Révélation d'Hermès Trismégiste, Paris, Les Belles Lettres, 2014 , . Kyle A. Fraser, " Zosimos of Panopolis and the Book of Enoch: Alchemy as Forbidden Knowledge ", Aries 4.2 (2004), p. 125–147. Kyle A. Fraser, " Baptized in Gnosis: The Spiritual Alchemy of Zosimos of Panopolis ", Dionysius 25 (2007), p. 33–54. Kyle A. Fraser, " Distilling Nature's Secrets: The Sacred Art of Alchemy ", in John Scarborough and Paul Keyser (eds.), Oxford Handbook of Science and Medicine in the Classical World, Oxford University Press, 2018, p. 721–742. 2018. . Shannon Grimes, Becoming Gold: Zosimos of Panopolis and the Alchemical Arts in Roman Egypt, Auckland, Rubedo Press, 2018, Paul T. Keyser, " Greco-Roman Alchemy and Coins of Imitation Silver ", American Journal of Numismatics 7–8 (1995–1996), p. 209–234. Paul Keyser, " The Longue Durée of Alchemy ", in John Scarborough and Paul Keyser (eds.), Oxford Handbook of Science and Medicine in the Classical World, Oxford University Press, 2018, p. 409–430. Jean Letrouit, "Chronologie des alchimistes grecs," in Didier Kahn and Sylvain Matton, Alchimie: art, histoire et mythes, SEHA-Archè, 1995, p. 11–93. Lindsay, Jack. The Origins of Alchemy in Greco-Roman Egypt. Barnes & Noble, 1970. Paul Magdalino and Maria Mavroudi (eds.), The Occult Sciences in Byzantium, La Pomme d'or, 2006. Matteo Martelli, " The Alchemical Art of Dyeing: The Fourfold Division of Alchemy and the Enochian Tradition " in Sven Dupré (ed.), Laboratories of Art, Springer, 2014, . Matteo Martelli, " Alchemy, Medicine and Religion: Zosimus of Panopolis and the Egyptian Priests ", Religion in the Roman Empire 3.2 (2017), p. 202–220. Gerasimos Merianos, " Alchemy ", In A. Kaldellis & N. Siniossoglou (eds.), The Cambridge Intellectual History of Byzantium (pp. 234–251). Cambridge: Cambridge University Press, 2017, . Efthymios Nikolaïdis (ed.), Greek Alchemy from Late Antiquity to Early Modernity, Brepols, 2019, . Daniel Stolzenberg, " Unpropitious Tinctures: Alchemy, Astrology & Gnosis According to Zosimos of Panopolis ", Archives internationales d'histoire des sciences 49 (1999), p. 3–31. Cristina Viano, " Byzantine Alchemy, or the Era of Systematization ", in John Scarborough and Paul Keyser (eds.), Oxford Handbook of Science and Medicine in the Classical World, Oxford University Press, 2018, p. 943–964. C. Vlachou and al., " Experimental investigation of silvering in late Roman coinage |
", Material Research Society Symposium Proceedings 712 (2002), p. II9.2.1-II9.2.9, . Early modern Principe, Lawrence and William Newman. Alchemy Tried in the Fire: Starkey, Boyle, and the Fate of Helmontian Chymistry. University of Chicago Press, 2002. External links SHAC: Society for the History of Alchemy and Chemistry ESSWE: European Society for the Study of Western Esotericism Association for the Study of Esotericism Esotericism Hermeticism Natural philosophy History of science |
Alien primarily refers to: Alien (law), a person in a country who is not a national of that country Enemy alien, the above in times of war Extraterrestrial life, life which does not originate from Earth Specifically, intelligent extraterrestrial beings; see List of alleged extraterrestrial beings For fictional extraterrestrial life, see Extraterrestrials in fiction Introduced species, a species not native to its environment Alien(s), or The Alien(s) may also refer to: Science and technology AliEn (ALICE Environment), a grid framework Alien (file converter), a Linux program Alien Technology, a manufacturer of RFID technology Arts and entertainment Alien (franchise), a media franchise Alien (creature in Alien franchise) Films Alien (film), a 1979 film by Ridley Scott Aliens (film), second film in the franchise from 1986 by James Cameron Alien 3, third film in the franchise from 1992 by David Fincher Alien Resurrection, fourth film in the franchise from 1997 by Jean-Pierre Jeunet Alien vs. Predator (film), fifth film in the franchise from 2004 by Paul W. S. Anderson Aliens vs. Predator: Requiem, sixth film in the franchise from 2007 by the Brothers Strause Prometheus (2012 film), seventh film in the franchise from 2012 by Ridley Scott Alien: Covenant, eighth film in the franchise from 2017 by Ridley Scott Alien 2: On Earth, a 1980 unofficial sequel of the 1979 Alien film Alien Visitor (also titled Epsilon) (1995 film) AustralianItalian science fiction film by Rolf de Heer The Alien (2016 film), a 2016 Mexican film The Alien (unproduced film), an incomplete 1960s IndianAmerican film Alien (2022 film), an upcoming South Korean film Literature Alien novels, an extension of the Alien franchise Aliens: Colonial Marines Technical Manual, a 1995 book by Lee Brimmicombe-Wood, a guide to the fictional United States Colonial Marines Aliens (Tappan Wright novel), a 1902 novel by Mary Tappan Wright Aliens! (anthology) a 1980 anthology of science fiction edited by Gardner Dozois and Jack Dann The Alien (Animorphs), the eighth book in the Animorphs series The Aliens (play), a 2010 play by Annie Baker Music Performers Alien (band), a 1980s Swedish rock group The Aliens (Australian band), a 1970s new wave group The Aliens (Scottish band), a 2005–2008 rock group The Aliens, the backing band for the American musician Jared Louche on his 1999 solo debut album Covergirl Albums Alien (soundtrack), 1979 Alien (Beam album), 2022 Alien (Northlane album), 2019 Alien (Strapping Young Lad album), 2005 Alien, a 1989 EP |
by Tankard Aliens (soundtrack), 1987 Songs "Alien" (Britney Spears song), 2013 "Alien" (Jonas Blue and Sabrina Carpenter song), 2018 "Alien", a song by Atlanta Rhythm from the album Quinella, 1981 "Alien", a song by Bush from the album Sixteen Stone, 1994 "Alien", a song by Erasure from the album Loveboat, 2000 "Alien", a song by Japan from the album Quiet Life, 1979 "Alien", a song by Lamb from the album Fear of Fours, 1999 "Alien", a song by Nerina Pallot from the album Dear Frustrated Superstar, 2001 "Alien", a song by P-Model from the album Landsale, 1980 "Alien", a song by Pennywise from the album Straight Ahead, 1999 "Alien", a song by Structures from the album Life Through a Window, 2014 "Alien", a song by Third Day from the album Conspiracy No. 5, 1997 "Alien", a song by Thriving Ivory from the album Thriving Ivory, 2003 "Alien", a song by Tokio Hotel from the album Humanoid, 2009. Fans of the band call themselves "Aliens". "Alien", a 2020 song by Lee Suhyun "Alien", a 2020 song by Dennis Lloyd "Aliens" (song), a 2017 song by Coldplay "Aliens", a 1984 song by Warlord "The Alien", a song by Dream Theater from the album A View from the Top of the World, 2021 Video games Alien (1984 video game), based on the film Alien (Atari 2600), a 1982 maze game based on the 1979 film Alien: Isolation, a 2014 video game based on the Alien science fiction horror film series Aliens (1982 video game), a text-only clone of Space Invaders written for the CP/M operating system on the Kaypro computer Aliens (1990 video game), a game by Konami, based on the sequel of the film Other media Alien (Armenian TV series), a 2017 melodrama series Alien (sculpture), a 2012 work by David Breuer-Weil, in Mottisfont, Hampshire, England Aliens (Dark Horse Comics line) The Aliens (TV series), 2016 British sci-fi television series "Aliens" (Roseanne), a 1992 television episode Other uses Alien (shipping company), a Russian company Alien Sun (born 1974), Singaporean actress Alien, a perfume by Thierry Mugler See also Alians, an Islamic order Alien Project (disambiguation) Alien vs. Predator (disambiguation) Astrobiology, the study of hypothetical alien life ATLiens, a 1996 album by OutKast Predator (disambiguation) UFO (disambiguation) Unidentified flying object (disambiguation) |
An astronomer is a scientist in the field of astronomy who focuses their studies on a specific question or field outside the scope of Earth. They observe astronomical objects such as stars, planets, moons, comets and galaxies – in either observational (by analyzing the data) or theoretical astronomy. Examples of topics or fields astronomers study include planetary science, solar astronomy, the origin or evolution of stars, or the formation of galaxies. A related but distinct subject is physical cosmology, which studies the Universe as a whole. Types Astronomers usually fall under either of two main types: observational and theoretical. Observational astronomers make direct observations of celestial objects and analyze the data. In contrast, theoretical astronomers create and investigate models of things that cannot be observed. Because it takes millions to billions of years for a system of stars or a galaxy to complete a life cycle, astronomers must observe snapshots of different systems at unique points in their evolution to determine how they form, evolve, and die. They use this data to create models or simulations to theorize how different celestial objects work. Further subcategories under these two main branches of astronomy include planetary astronomy, galactic astronomy, or physical cosmology. Academic Historically, astronomy was more concerned with the classification and description of phenomena in the sky, while astrophysics attempted to explain these phenomena and the differences between them using physical laws. Today, that distinction has mostly disappeared and the terms "astronomer" and "astrophysicist" are interchangeable. Professional astronomers are highly educated individuals who typically have a PhD in physics or astronomy and are employed by research institutions or universities. They spend the majority of their time working on research, although they quite often have other duties such as teaching, building instruments, or aiding in the operation of an observatory. The American Astronomical Society, which is the major organization of professional astronomers in North America, has approximately 7,000 members. This number includes scientists from other fields such as physics, geology, and engineering, whose research interests are closely related to astronomy. The International Astronomical Union comprises almost 10,145 members from 70 countries who are involved in astronomical research at the PhD level and beyond. Contrary to the classical image of an old astronomer peering through a telescope through the dark hours of the night, it is far more common to use a charge-coupled device (CCD) camera to record a long, deep exposure, allowing |
a more sensitive image to be created because the light is added over time. Before CCDs, photographic plates were a common method of observation. Modern astronomers spend relatively little time at telescopes usually just a few weeks per year. Analysis of observed phenomena, along with making predictions as to the causes of what they observe, takes the majority of observational astronomers' time. Astronomers who serve as faculty spend much of their time teaching undergraduate and graduate classes. Most universities also have outreach programs including public telescope time and sometimes planetariums as a public service to encourage interest in the field. Those who become astronomers usually have a broad background in maths, sciences and computing in high school. Taking courses that teach how to research, write, and present papers are also invaluable. In college/university most astronomers get a PhD in astronomy or physics. Amateur astronomers While there is a relatively low number of professional astronomers, the field is popular among amateurs. Most cities have amateur astronomy clubs that meet on a regular basis and often host star parties. The Astronomical Society of the Pacific is the largest general astronomical society in the world, comprising both professional and amateur astronomers as well as educators from 70 different nations. Like any hobby, most people who think of themselves as amateur astronomers may devote a few hours a month to stargazing and reading the latest developments in research. However, amateurs span the range from so-called "armchair astronomers" to the very ambitious, who own science-grade telescopes and instruments with which they are able to make their own discoveries and assist professional astronomers in research. See also List of astronomers List of women astronomers List of Muslim astronomers List of French astronomers List of Hungarian astronomers List of Russian astronomers and astrophysicists List of Slovenian astronomers References Sources External links American Astronomical Society European Astronomical Society International Astronomical Union Astronomical Society of the Pacific Space's astronomy news Astronomy Science occupations |
ASCII ( ), abbreviated from American Standard Code for Information Interchange, is a character encoding standard for electronic communication. ASCII codes represent text in computers, telecommunications equipment, and other devices. Because of technical limitations of computer systems at the time it was invented, ASCII has just 128 code points, of which only 95 are , which severely limited its scope. All modern computer systems instead use Unicode, which has millions of code points, but the first 128 of these are the same as the ASCII set. The Internet Assigned Numbers Authority (IANA) prefers the name US-ASCII for this character encoding. ASCII is one of the IEEE milestones. Overview ASCII was developed from telegraph code. Its first commercial use was as a seven-bit teleprinter code promoted by Bell data services. Work on the ASCII standard began in May 1961, with the first meeting of the American Standards Association's (ASA) (now the American National Standards Institute or ANSI) X3.2 subcommittee. The first edition of the standard was published in 1963, underwent a major revision during 1967, and experienced its most recent update during 1986. Compared to earlier telegraph codes, the proposed Bell code and ASCII were both ordered for more convenient sorting (i.e., alphabetization) of lists and added features for devices other than teleprinters. The use of ASCII format for Network Interchange was described in 1969. That document was formally elevated to an Internet Standard in 2015. Originally based on the (modern) English alphabet, ASCII encodes 128 specified characters into seven-bit integers as shown by the ASCII chart above. Ninety-five of the encoded characters are printable: these include the digits 0 to 9, lowercase letters a to z, uppercase letters A to Z, and punctuation symbols. In addition, the original ASCII specification included 33 non-printing control codes which originated with Teletype machines; most of these are now obsolete, although a few are still commonly used, such as the carriage return, line feed, and tab codes. For example, lowercase i would be represented in the ASCII encoding by binary 1101001 = hexadecimal 69 (i is the ninth letter) = decimal 105. Despite being an American standard, ASCII does not have a code point for the cent (¢). It also does not support English terms with diacritical marks such as résumé and jalapeño, or proper nouns with diacritical marks such as Beyoncé. History The American Standard Code for Information Interchange (ASCII) was developed under |
the auspices of a committee of the American Standards Association (ASA), called the X3 committee, by its X3.2 (later X3L2) subcommittee, and later by that subcommittee's X3.2.4 working group (now INCITS). The ASA later became the United States of America Standards Institute (USASI), and ultimately became the American National Standards Institute (ANSI). With the other special characters and control codes filled in, ASCII was published as ASA X3.4-1963, leaving 28 code positions without any assigned meaning, reserved for future standardization, and one unassigned control code. There was some debate at the time whether there should be more control characters rather than the lowercase alphabet. The indecision did not last long: during May 1963 the CCITT Working Party on the New Telegraph Alphabet proposed to assign lowercase characters to sticks 6 and 7, and International Organization for Standardization TC 97 SC 2 voted during October to incorporate the change into its draft standard. The X3.2.4 task group voted its approval for the change to ASCII at its May 1963 meeting. Locating the lowercase letters in sticks 6 and 7 caused the characters to differ in bit pattern from the upper case by a single bit, which simplified case-insensitive character matching and the construction of keyboards and printers. The X3 committee made other changes, including other new characters (the brace and vertical bar characters), renaming some control characters (SOM became start of header (SOH)) and moving or removing others (RU was removed). ASCII was subsequently updated as USAS X3.4-1967, then USAS X3.4-1968, ANSI X3.4-1977, and finally, ANSI X3.4-1986. Revisions of the ASCII standard: ASA X3.4-1963 ASA X3.4-1965 (approved, but not published, nevertheless used by IBM 2260 & 2265 Display Stations and IBM 2848 Display Control) USAS X3.4-1967 USAS X3.4-1968 ANSI X3.4-1977 ANSI X3.4-1986 ANSI X3.4-1986 (R1992) ANSI X3.4-1986 (R1997) ANSI INCITS 4-1986 (R2002) ANSI INCITS 4-1986 (R2007) (ANSI) INCITS 4-1986[R2012] (ANSI) INCITS 4-1986[R2017] In the X3.15 standard, the X3 committee also addressed how ASCII should be transmitted (least significant bit first), and how it should be recorded on perforated tape. They proposed a 9-track standard for magnetic tape, and attempted to deal with some punched card formats. Design considerations Bit width The X3.2 subcommittee designed ASCII based on the earlier teleprinter encoding systems. Like other character encodings, ASCII specifies a correspondence between digital bit patterns and character symbols (i.e. graphemes and control characters). This allows digital devices to communicate with each other |
and to process, store, and communicate character-oriented information such as written language. Before ASCII was developed, the encodings in use included 26 alphabetic characters, 10 numerical digits, and from 11 to 25 special graphic symbols. To include all these, and control characters compatible with the Comité Consultatif International Téléphonique et Télégraphique (CCITT) International Telegraph Alphabet No. 2 (ITA2) standard of 1924, FIELDATA (1956), and early EBCDIC (1963), more than 64 codes were required for ASCII. ITA2 was in turn based on the 5-bit telegraph code that Émile Baudot invented in 1870 and patented in 1874. The committee debated the possibility of a shift function (like in ITA2), which would allow more than 64 codes to be represented by a six-bit code. In a shifted code, some character codes determine choices between options for the following character codes. It allows compact encoding, but is less reliable for data transmission, as an error in transmitting the shift code typically makes a long part of the transmission unreadable. The standards committee decided against shifting, and so ASCII required at least a seven-bit code. The committee considered an eight-bit code, since eight bits (octets) would allow two four-bit patterns to efficiently encode two digits with binary-coded decimal. However, it would require all data transmission to send eight bits when seven could suffice. The committee voted to use a seven-bit code to minimize costs associated with data transmission. Since perforated tape at the time could record eight bits in one position, it also allowed for a parity bit for error checking if desired. Eight-bit machines (with octets as the native data type) that did not use parity checking typically set the eighth bit to 0. Internal organization The code itself was patterned so that most control codes were together and all graphic codes were together, for ease of identification. The first two so-called ASCII sticks (32 positions) were reserved for control characters. The "space" character had to come before graphics to make sorting easier, so it became position 20hex; for the same reason, many special signs commonly used as separators were placed before digits. The committee decided it was important to support uppercase 64-character alphabets, and chose to pattern ASCII so it could be reduced easily to a usable 64-character set of graphic codes, as was done in the DEC SIXBIT code (1963). Lowercase letters were therefore not interleaved with uppercase. To keep options available |
for lowercase letters and other graphics, the special and numeric codes were arranged before the letters, and the letter A was placed in position 41hex to match the draft of the corresponding British standard. The digits 0–9 are prefixed with 011, but the remaining 4 bits correspond to their respective values in binary, making conversion with binary-coded decimal straightforward. Many of the non-alphanumeric characters were positioned to correspond to their shifted position on typewriters; an important subtlety is that these were based on mechanical typewriters, not electric typewriters. Mechanical typewriters followed the de facto standard set by the Remington No. 2 (1878), the first typewriter with a shift key, and the shifted values of 23456789- were "#$%_&'() early typewriters omitted 0 and 1, using O (capital letter o) and l (lowercase letter L) instead, but 1! and 0) pairs became standard once 0 and 1 became common. Thus, in ASCII !"#$% were placed in the second stick, positions 1–5, corresponding to the digits 1–5 in the adjacent stick. The parentheses could not correspond to 9 and 0, however, because the place corresponding to 0 was taken by the space character. This was accommodated by removing _ (underscore) from 6 and shifting the remaining characters, which corresponded to many European typewriters that placed the parentheses with 8 and 9. This discrepancy from typewriters led to bit-paired keyboards, notably the Teletype Model 33, which used the left-shifted layout corresponding to ASCII, differently from traditional mechanical typewriters. Electric typewriters, notably the IBM Selectric (1961), used a somewhat different layout that has become de facto standard on computers following the IBM PC (1981), especially Model M (1984) and thus shift values for symbols on modern keyboards do not correspond as closely to the ASCII table as earlier keyboards did. The /? pair also dates to the No. 2, and the ,< .> pairs were used on some keyboards (others, including the No. 2, did not shift , (comma) or . (full stop) so they could be used in uppercase without unshifting). However, ASCII split the ;: pair (dating to No. 2), and rearranged mathematical symbols (varied conventions, commonly -* =+) to :* ;+ -=. Some then-common typewriter characters were not included, notably ½ ¼ ¢, while ^ ` ~ were included as diacritics for international use, and < > for mathematical use, together with the simple line characters \ | (in addition to common |
/). The @ symbol was not used in continental Europe and the committee expected it would be replaced by an accented À in the French variation, so the @ was placed in position 40hex, right before the letter A. The control codes felt essential for data transmission were the start of message (SOM), end of address (EOA), end of message (EOM), end of transmission (EOT), "who are you?" (WRU), "are you?" (RU), a reserved device control (DC0), synchronous idle (SYNC), and acknowledge (ACK). These were positioned to maximize the Hamming distance between their bit patterns. Character order ASCII-code order is also called ASCIIbetical order. Collation of data is sometimes done in this order rather than "standard" alphabetical order (collating sequence). The main deviations in ASCII order are: All uppercase come before lowercase letters; for example, "Z" precedes "a" Digits and many punctuation marks come before letters An intermediate order converts uppercase letters to lowercase before comparing ASCII values. Character groups Control characters ASCII reserves the first 32 codes (numbers 0–31 decimal) for control characters: codes originally intended not to represent printable information, but rather to control devices (such as printers) that make use of ASCII, or to provide meta-information about data streams such as those stored on magnetic tape. For example, character 10 represents the "line feed" function (which causes a printer to advance its paper), and character 8 represents "backspace". refers to control characters that do not include carriage return, line feed or white space as non-whitespace control characters. Except for the control characters that prescribe elementary line-oriented formatting, ASCII does not define any mechanism for describing the structure or appearance of text within a document. Other schemes, such as markup languages, address page and document layout and formatting. The original ASCII standard used only short descriptive phrases for each control character. The ambiguity this caused was sometimes intentional, for example where a character would be used slightly differently on a terminal link than on a data stream, and sometimes accidental, for example with the meaning of "delete". Probably the most influential single device affecting the interpretation of these characters was the Teletype Model 33 ASR, which was a printing terminal with an available paper tape reader/punch option. Paper tape was a very popular medium for long-term program storage until the 1980s, less costly and in some ways less fragile than magnetic tape. In particular, the Teletype Model 33 |
machine assignments for codes 17 (control-Q, DC1, also known as XON), 19 (control-S, DC3, also known as XOFF), and 127 (delete) became de facto standards. The Model 33 was also notable for taking the description of control-G (code 7, BEL, meaning audibly alert the operator) literally, as the unit contained an actual bell which it rang when it received a BEL character. Because the keytop for the O key also showed a left-arrow symbol (from ASCII-1963, which had this character instead of underscore), a noncompliant use of code 15 (control-O, shift in) interpreted as "delete previous character" was also adopted by many early timesharing systems but eventually became neglected. When a Teletype 33 ASR equipped with the automatic paper tape reader received a control-S (XOFF, an abbreviation for transmit off), it caused the tape reader to stop; receiving control-Q (XON, transmit on) caused the tape reader to resume. This so-called flow control technique became adopted by several early computer operating systems as a "handshaking" signal warning a sender to stop transmission because of impending buffer overflow; it persists to this day in many systems as a manual output control technique. On some systems, control-S retains its meaning but control-Q is replaced by a second control-S to resume output. The 33 ASR also could be configured to employ control-R (DC2) and control-T (DC4) to start and stop the tape punch; on some units equipped with this function, the corresponding control character lettering on the keycap above the letter was TAPE and TAPE respectively. Delete vs backspace The Teletype could not move its typehead backwards, so it did not have a key on its keyboard to send a BS (backspace). Instead, there was a key marked that sent code 127 (DEL). The purpose of this key was to erase mistakes in a manually-input paper tape: the operator had to push a button on the tape punch to back it up, then type the rubout, which punched all holes and replaced the mistake with a character that was intended to be ignored. Teletypes were commonly used with the less-expensive computers from Digital Equipment Corporation (DEC); these systems had to use what keys were available, and thus the DEL code was assigned to erase the previous character. Because of this, DEC video terminals (by default) sent the DEL code for the key marked "Backspace" while the separate key marked "Delete" sent an escape sequence; |
many other competing terminals sent a BS code for the backspace key. The Unix terminal driver could only use one code to erase the previous character, this could be set to BS or DEL, but not both, resulting in recurring situations of ambiguity where users had to decide depending on what terminal they were using (shells that allow line editing, such as ksh, bash, and zsh, understand both). The assumption that no key sent a BS code allowed control+H to be used for other purposes, such as the "help" prefix command in GNU Emacs. Escape Many more of the control codes have been assigned meanings quite different from their original ones. The "escape" character (ESC, code 27), for example, was intended originally to allow sending of other control characters as literals instead of invoking their meaning, an "escape sequence". This is the same meaning of "escape" encountered in URL encodings, C language strings, and other systems where certain characters have a reserved meaning. Over time this interpretation has been co-opted and has eventually been changed. In modern usage, an ESC sent to the terminal usually indicates the start of a command sequence usually in the form of a so-called "ANSI escape code" (or, more properly, a "Control Sequence Introducer") from ECMA-48 (1972) and its successors, beginning with ESC followed by a "[" (left-bracket) character. In contrast, an ESC sent from the terminal is most often used as an out-of-band character used to terminate an operation or special mode, as in the TECO and vi text editors. In graphical user interface (GUI) and windowing systems, ESC generally causes an application to abort its current operation or to exit (terminate) altogether. End of line The inherent ambiguity of many control characters, combined with their historical usage, created problems when transferring "plain text" files between systems. The best example of this is the newline problem on various operating systems. Teletype machines required that a line of text be terminated with both "carriage return" (which moves the printhead to the beginning of the line) and "line feed" (which advances the paper one line without moving the printhead). The name "carriage return" comes from the fact that on a manual typewriter the carriage holding the paper moves while the typebars that strike the ribbon remain stationary. The entire carriage had to be pushed (returned) to the right in order to position the paper for the |
next line. DEC operating systems (OS/8, RT-11, RSX-11, RSTS, TOPS-10, etc.) used both characters to mark the end of a line so that the console device (originally Teletype machines) would work. By the time so-called "glass TTYs" (later called CRTs or "dumb terminals") came along, the convention was so well established that backward compatibility necessitated continuing to follow it. When Gary Kildall created CP/M, he was inspired by some of the command line interface conventions used in DEC's RT-11 operating system. Until the introduction of PC DOS in 1981, IBM had no influence in this because their 1970s operating systems used EBCDIC encoding instead of ASCII, and they were oriented toward punch-card input and line printer output on which the concept of "carriage return" was meaningless. IBM's PC DOS (also marketed as MS-DOS by Microsoft) inherited the convention by virtue of being loosely based on CP/M, and Windows in turn inherited it from MS-DOS. Requiring two characters to mark the end of a line introduces unnecessary complexity and ambiguity as to how to interpret each character when encountered by itself. To simplify matters, plain text data streams, including files, on Multics used line feed (LF) alone as a line terminator. Unix and Unix-like systems, and Amiga systems, adopted this convention from Multics. On the other hand, the original Macintosh OS, Apple DOS, and ProDOS used carriage return (CR) alone as a line terminator; however, since Apple has now replaced these obsolete operating systems with the Unix-based macOS operating system, they now use line feed (LF) as well. The Radio Shack TRS-80 also used a lone CR to terminate lines. Computers attached to the ARPANET included machines running operating systems such as TOPS-10 and TENEX using CR-LF line endings; machines running operating systems such as Multics using LF line endings; and machines running operating systems such as OS/360 that represented lines as a character count followed by the characters of the line and which used EBCDIC rather than ASCII encoding. The Telnet protocol defined an ASCII "Network Virtual Terminal" (NVT), so that connections between hosts with different line-ending conventions and character sets could be supported by transmitting a standard text format over the network. Telnet used ASCII along with CR-LF line endings, and software using other conventions would translate between the local conventions and the NVT. The File Transfer Protocol adopted the Telnet protocol, including use of the Network Virtual Terminal, |
for use when transmitting commands and transferring data in the default ASCII mode. This adds complexity to implementations of those protocols, and to other network protocols, such as those used for E-mail and the World Wide Web, on systems not using the NVT's CR-LF line-ending convention. End of file/stream The PDP-6 monitor, and its PDP-10 successor TOPS-10, used control-Z (SUB) as an end-of-file indication for input from a terminal. Some operating systems such as CP/M tracked file length only in units of disk blocks, and used control-Z to mark the end of the actual text in the file. For these reasons, EOF, or end-of-file, was used colloquially and conventionally as a three-letter acronym for control-Z instead of SUBstitute. The end-of-text code (ETX), also known as control-C, was inappropriate for a variety of reasons, while using Z as the control code to end a file is analogous to its position at the end of the alphabet, and serves as a very convenient mnemonic aid. A historically common and still prevalent convention uses the ETX code convention to interrupt and halt a program via an input data stream, usually from a keyboard. In C library and Unix conventions, the null character is used to terminate text strings; such null-terminated strings can be known in abbreviation as ASCIZ or ASCIIZ, where here Z stands for "zero". Control code chart Other representations might be used by specialist equipment, for example ISO 2047 graphics or hexadecimal numbers. Printable characters Codes 20hex to 7Ehex, known as the printable characters, represent letters, digits, punctuation marks, and a few miscellaneous symbols. There are 95 printable characters in total. Code 20hex, the "space" character, denotes the space between words, as produced by the space bar of a keyboard. Since the space character is considered an invisible graphic (rather than a control character) it is listed in the table below instead of in the previous section. Code 7Fhex corresponds to the non-printable "delete" (DEL) control character and is therefore omitted from this chart; it is covered in the previous section's chart. Earlier versions of ASCII used the up arrow instead of the caret (5Ehex) and the left arrow instead of the underscore (5Fhex). Character set Usage ASCII was first used commercially during 1963 as a seven-bit teleprinter code for American Telephone & Telegraph's TWX (TeletypeWriter eXchange) network. TWX originally used the earlier five-bit ITA2, which was also used by the |
competing Telex teleprinter system. Bob Bemer introduced features such as the escape sequence. His British colleague Hugh McGregor Ross helped to popularize this work according to Bemer, "so much so that the code that was to become ASCII was first called the Bemer–Ross Code in Europe". Because of his extensive work on ASCII, Bemer has been called "the father of ASCII". On March 11, 1968, US President Lyndon B. Johnson mandated that all computers purchased by the United States Federal Government support ASCII, stating: I have also approved recommendations of the Secretary of Commerce [Luther H. Hodges] regarding standards for recording the Standard Code for Information Interchange on magnetic tapes and paper tapes when they are used in computer operations. All computers and related equipment configurations brought into the Federal Government inventory on and after July 1, 1969, must have the capability to use the Standard Code for Information Interchange and the formats prescribed by the magnetic tape and paper tape standards when these media are used. ASCII was the most common character encoding on the World Wide Web until December 2007, when UTF-8 encoding surpassed it; UTF-8 is backward compatible with ASCII. Variants and derivations As computer technology spread throughout the world, different standards bodies and corporations developed many variations of ASCII to facilitate the expression of non-English languages that used Roman-based alphabets. One could class some of these variations as "ASCII extensions", although some misuse that term to represent all variants, including those that do not preserve ASCII's character-map in the 7-bit range. Furthermore, the ASCII extensions have also been mislabelled as ASCII. 7-bit codes From early in its development, ASCII was intended to be just one of several national variants of an international character code standard. Other international standards bodies have ratified character encodings such as ISO 646 (1967) that are identical or nearly identical to ASCII, with extensions for characters outside the English alphabet and symbols used outside the United States, such as the symbol for the United Kingdom's pound sterling (£); e.g. with code page 1104. Almost every country needed an adapted version of ASCII, since ASCII suited the needs of only the US and a few other countries. For example, Canada had its own version that supported French characters. Many other countries developed variants of ASCII to include non-English letters (e.g. é, ñ, ß, Ł), currency symbols (e.g. £, ¥), etc. See also YUSCII |
(Yugoslavia). It would share most characters in common, but assign other locally useful characters to several code points reserved for "national use". However, the four years that elapsed between the publication of ASCII-1963 and ISO's first acceptance of an international recommendation during 1967 caused ASCII's choices for the national use characters to seem to be de facto standards for the world, causing confusion and incompatibility once other countries did begin to make their own assignments to these code points. ISO/IEC 646, like ASCII, is a 7-bit character set. It does not make any additional codes available, so the same code points encoded different characters in different countries. Escape codes were defined to indicate which national variant applied to a piece of text, but they were rarely used, so it was often impossible to know what variant to work with and, therefore, which character a code represented, and in general, text-processing systems could cope with only one variant anyway. Because the bracket and brace characters of ASCII were assigned to "national use" code points that were used for accented letters in other national variants of ISO/IEC 646, a German, French, or Swedish, etc. programmer using their national variant of ISO/IEC 646, rather than ASCII, had to write, and, thus, read, something such as ä aÄiÜ = 'Ön'; ü instead of { a[i] = '\n'; } C trigraphs were created to solve this problem for ANSI C, although their late introduction and inconsistent implementation in compilers limited their use. Many programmers kept their computers on US-ASCII, so plain-text in Swedish, German etc. (for example, in e-mail or Usenet) contained "{, }" and similar variants in the middle of words, something those programmers got used to. For example, a Swedish programmer mailing another programmer asking if they should go for lunch, could get "N{ jag har sm|rg}sar" as the answer, which should be "Nä jag har smörgåsar" meaning "No I've got sandwiches". In Japan and Korea, still a variation of ASCII is used, in which the backslash (5C hex) is rendered as ¥ (a Yen sign, in Japan) or ₩ (a Won sign, in Korea). This means that, for example, the file path C:\Users\Smith is shown as C:¥Users¥Smith (in Japan) or C:₩Users₩Smith (in Korea). 8-bit codes Eventually, as 8-, 16-, and 32-bit (and later 64-bit) computers began to replace 12-, 18-, and 36-bit computers as the norm, it became common to use an |
8-bit byte to store each character in memory, providing an opportunity for extended, 8-bit relatives of ASCII. In most cases these developed as true extensions of ASCII, leaving the original character-mapping intact, but adding additional character definitions after the first 128 (i.e., 7-bit) characters. Encodings include ISCII (India), VISCII (Vietnam). Although these encodings are sometimes referred to as ASCII, true ASCII is defined strictly only by the ANSI standard. Most early home computer systems developed their own 8-bit character sets containing line-drawing and game glyphs, and often filled in some or all of the control characters from 0 to 31 with more graphics. Kaypro CP/M computers used the "upper" 128 characters for the Greek alphabet. The PETSCII code Commodore International used for their 8-bit systems is probably unique among post-1970 codes in being based on ASCII-1963, instead of the more common ASCII-1967, such as found on the ZX Spectrum computer. Atari 8-bit computers and Galaksija computers also used ASCII variants. The IBM PC defined code page 437, which replaced the control characters with graphic symbols such as smiley faces, and mapped additional graphic characters to the upper 128 positions. Operating systems such as DOS supported these code pages, and manufacturers of IBM PCs supported them in hardware. Digital Equipment Corporation developed the Multinational Character Set (DEC-MCS) for use in the popular VT220 terminal as one of the first extensions designed more for international languages than for block graphics. The Macintosh defined Mac OS Roman and Postscript also defined a set, both of these contained both international letters and typographic punctuation marks instead of graphics, more like modern character sets. The ISO/IEC 8859 standard (derived from the DEC-MCS) finally provided a standard that most systems copied (at least as accurately as they copied ASCII, but with many substitutions). A popular further extension designed by Microsoft, Windows-1252 (often mislabeled as ISO-8859-1), added the typographic punctuation marks needed for traditional text printing. ISO-8859-1, Windows-1252, and the original 7-bit ASCII were the most common character encodings until 2008 when UTF-8 became more common. ISO/IEC 4873 introduced 32 additional control codes defined in the 80–9F hexadecimal range, as part of extending the 7-bit ASCII encoding to become an 8-bit system. Unicode Unicode and the ISO/IEC 10646 Universal Character Set (UCS) have a much wider array of characters and their various encoding forms have begun to supplant ISO/IEC 8859 and ASCII rapidly in many environments. While |
ASCII is limited to 128 characters, Unicode and the UCS support more characters by separating the concepts of unique identification (using natural numbers called code points) and encoding (to 8-, 16-, or 32-bit binary formats, called UTF-8, UTF-16, and UTF-32, respectively). ASCII was incorporated into the Unicode (1991) character set as the first 128 symbols, so the 7-bit ASCII characters have the same numeric codes in both sets. This allows UTF-8 to be backward compatible with 7-bit ASCII, as a UTF-8 file containing only ASCII characters is identical to an ASCII file containing the same sequence of characters. Even more importantly, forward compatibility is ensured as software that recognizes only 7-bit ASCII characters as special and does not alter bytes with the highest bit set (as is often done to support 8-bit ASCII extensions such as ISO-8859-1) will preserve UTF-8 data unchanged. See also 3568 ASCII, an asteroid named after the character encoding Alt codes Ascii85 ASCII art ASCII Ribbon Campaign Basic Latin (Unicode block) (ASCII as a subset of Unicode) Extended ASCII HTML decimal character rendering Jargon File, a glossary of computer programmer slang which includes a list of common slang names for ASCII characters List of computer character sets List of Unicode characters Notes References Further reading from: (facsimile, not machine readable) External links Computer-related introductions in 1963 Character sets Character encoding Latin-script representations Presentation layer protocols American National Standards Institute standards |
Austin is the capital of Texas in the United States. Austin may also refer to: Geographical locations Australia Austin, Western Australia Canada Austin, Manitoba Austin, Ontario Austin, Quebec Austin Island, Nunavut France Saint-Austin, hamlet at la Neuville-Chant-d'Oisel, Normandy Hong Kong Austin station (MTR), Kowloon United States Austin, Arkansas Austin, Colorado Austin Township, Macon County, Illinois Austin, Chicago, Cook County, Illinois Austin, Indiana Austin, Kentucky Austin, Minnesota Austin, Missouri Austin, Nevada Austin, Ohio Austin, Oregon Austin, Pennsylvania Austin, Texas Austin County, Texas (note that the city of Austin, Texas is located in Travis County) Schools Austin College, Sherman, Texas University of Texas at Austin, flagship institution of the University of Texas System Austin Peay State University, Clarksville, Tennessee Religion Augustine of Hippo An adjective for the Augustinians Business American Austin Car Company, short-lived American automobile maker Austin Automobile Company, short-lived American automobile company Austin Motor Company, British car manufacturer Austin magazine, produced for the Austin Motor Company by in-house Nuffield Press Austin cookies and crackers, Keebler Company brand Entertainment "Austin" (song), a single by Blake Shelton Austin, a kangaroo Beanie Baby produced by Ty, Inc. Austin the kangaroo from the children's television series The Backyardigans Other uses Austin (building), a building designed by artist Ellsworth Kelly under construction in Austin, Texas Austin (given name), a short form of Augustin, or Augustine, including fictional characters Austin (surname) USS Austin, three ships See also All pages beginning with Austin August (disambiguation) Augustin (disambiguation) Augustine (disambiguation) Austin station (disambiguation) Austins (disambiguation) Austen (disambiguation) Justice Austin (disambiguation) Austinburg (disambiguation) |
Animation is a method by which still figures are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today, many animations are made with computer-generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation (which may have the look of traditional animation) can be used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common animation methods apply a stop motion technique to two- and three-dimensional objects like paper cutouts, puppets, or clay figures. A cartoon is an animated film, usually a short film, featuring an exaggerated visual style. The style takes inspiration from comic strips, often featuring anthropomorphic animals, superheroes, or the adventures of human protagonists. Especially with animals that form a natural predator/prey relationship (e.g. cats and mice, coyotes and birds), the action often centers on violent pratfalls such as falls, collisions, and explosions that would be lethal in real life. The illusion of animation—as in motion pictures in general—has traditionally been attributed to the persistence of vision and later to the phi phenomenon and/or beta movement, but the exact neurological causes are still uncertain. The illusion of motion caused by a rapid succession of images that minimally differ from each other, with unnoticeable interruptions, is a stroboscopic effect. While animators traditionally used to draw each part of the movements and changes of figures on transparent cels that could be moved over a separate background, computer animation is usually based on programming paths between key frames to maneuver digitally created figures throughout a digitally created environment. Analog mechanical animation media that rely on the rapid display of sequential images include the phénakisticope, zoetrope, flip book, praxinoscope, and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on computers, technology such as the animated GIF and Flash animation were developed. In addition to short films, feature films, television series, animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in video games, motion graphics, user interfaces, and visual effects. The physical movement of image parts through simple mechanics—for instance, moving images in magic lantern shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. Electronic |
automata were popularized by Disney as animatronics. Etymology The word "animation" stems from the Latin "animātiōn", stem of "animātiō", meaning "a bestowing of life". The primary meaning of the English word is "liveliness" and has been in use much longer than the meaning of "moving image medium". History Before cinematography Hundreds of years before the introduction of true animation, people all over the world enjoyed shows with moving figures that were created and manipulated manually in puppetry, automata, shadow play, and the magic lantern. The multi-media phantasmagoria shows that were very popular in European theatres from the late 18th century through the first half of the 19th century, featured lifelike projections of moving ghosts and other frightful imagery in motion. In 1833, the stroboscopic disc (better known as the phénakisticope) introduced the principle of modern animation with sequential images that were shown one by one in quick succession to form an optical illusion of motion pictures. Series of sequential images had occasionally been made over thousands of years, but the stroboscopic disc provided the first method to represent such images in fluent motion and for the first time had artists creating series with a proper systematic breakdown of movements. The stroboscopic animation principle was also applied in the zoetrope (1866), the flip book (1868) and the praxinoscope (1877). A typical 19th-century animation contained about 12 images that were displayed as a continuous loop by spinning a device manually. The flip book often contained more pictures and had a beginning and end, but its animation would not last longer than a few seconds. The first to create much longer sequences seems to have been Charles-Émile Reynaud, who between 1892 and 1900 had much success with his 10- to 15-minute-long Pantomimes Lumineuses. Silent era When cinematography eventually broke through in 1895 after animated pictures had been known for decades, the wonder of the realistic details in the new medium was seen as its biggest accomplishment. Animation on film was not commercialized until a few years later by manufacturers of optical toys, with chromolithography film loops (often traced from live-action footage) for adapted toy magic lanterns intended for kids to use at home. It would take some more years before animation reached movie theaters. After earlier experiments by movie pioneers J. Stuart Blackton, Arthur Melbourne-Cooper, Segundo de Chomón, and Edwin S. Porter (among others), Blackton's The Haunted Hotel (1907) was the first huge |
stop motion success, baffling audiences by showing objects that apparently moved by themselves in full photographic detail, without signs of any known stage trick. Émile Cohl's Fantasmagorie (1908) is the oldest known example of a standard cinematographic film composed entirely of what became known as traditional (hand-drawn) animation. Other great artistic and very influential short films were created by Ladislas Starevich with his puppet animations since 1910 and by Winsor McCay with detailed drawn animation in films such as Little Nemo (1911) and Gertie the Dinosaur (1914). During the 1910s, the production of animated "cartoons" became an industry in the US. Successful producer John Randolph Bray and animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the century. Felix the Cat, who debuted in 1919, became the first fully realized animal character in the history of American film animation. American golden age In 1928, Steamboat Willie, featuring Mickey Mouse and Minnie Mouse, popularized film with synchronized sound and put Walt Disney's studio at the forefront of the animation industry. Although Disney Animation's actual output relative to total global animation output has always been very small, the studio has overwhelmingly dominated the "aesthetic norms" of animation ever since. The enormous success of Mickey Mouse is seen as the start of the golden age of American animation that would last until the 1960s. The United States dominated the world market of animation with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would become very popular and would have long-lasting careers, including Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Warner Bros. Cartoons' Looney Tunes characters like Porky Pig (1935), Daffy Duck (1937), Bugs Bunny (1938–1940), Tweety (1941–1942), Sylvester the Cat (1945), Wile E. Coyote and Road Runner (1949), Fleischer Studios/Paramount Cartoon Studios' Betty Boop (1930), Popeye (1933), Superman (1941) and Casper (1945), MGM cartoon studio's Tom and Jerry (1940) and Droopy, Walter Lantz Productions/Universal Studio Cartoons' Woody Woodpecker (1940), Terrytoons/20th Century Fox's Gandy Goose (1938), Dinky Duck (1939), Mighty Mouse (1942) and Heckle and Jeckle (1946) and United Artists' Pink Panther (1963). Features before CGI In 1917, Italian-Argentine director Quirino Cristiani made the first feature-length film El Apóstol (now lost), which became a critical and commercial success. It was followed by Cristiani's Sin dejar rastros in 1918, but one day after its premiere, the film was confiscated by the |
government. After working on it for three years, Lotte Reiniger released the German feature-length silhouette animation Die Abenteuer des Prinzen Achmed in 1926, the oldest extant animated feature. In 1937, Walt Disney Studios premiered their first animated feature, Snow White and the Seven Dwarfs, still one of the highest-grossing traditional animation features . The Fleischer studios followed this example in 1939 with Gulliver's Travels with some success. Partly due to foreign markets being cut off by the Second World War, Disney's next features Pinocchio, Fantasia (both 1940) and Fleischer Studios' second animated feature Mr. Bug Goes to Town (1941–1942) failed at the box office. For decades afterward, Disney would be the only American studio to regularly produce animated features, until Ralph Bakshi became the first to also release more than a handful features. Sullivan-Bluth Studios began to regularly produce animated features starting with An American Tail in 1986. Although relatively few titles became as successful as Disney's features, other countries developed their own animation industries that produced both short and feature theatrical animations in a wide variety of styles, relatively often including stop motion and cutout animation techniques. Russia's Soyuzmultfilm animation studio, founded in 1936, produced 20 films (including shorts) per year on average and reached 1,582 titles in 2018. China, Czechoslovakia / Czech Republic, Italy, France, and Belgium were other countries that more than occasionally released feature films, while Japan became a true powerhouse of animation production, with its own recognizable and influential anime style of effective limited animation. Television Animation became very popular on television since the 1950s, when television sets started to become common in most developed countries. Cartoons were mainly programmed for children, on convenient time slots, and especially US youth spent many hours watching Saturday-morning cartoons. Many classic cartoons found a new life on the small screen and by the end of the 1950s, the production of new animated cartoons started to shift from theatrical releases to TV series. Hanna-Barbera Productions was especially prolific and had huge hit series, such as The Flintstones (1960–1966) (the first prime time animated series), Scooby-Doo (since 1969) and Belgian co-production The Smurfs (1981–1989). The constraints of American television programming and the demand for an enormous quantity resulted in cheaper and quicker limited animation methods and much more formulaic scripts. Quality dwindled until more daring animation surfaced in the late 1980s and in the early 1990s with hit series such |
as The Simpsons (since 1989) as part of a "renaissance" of American animation. While US animated series also spawned successes internationally, many other countries produced their own child-oriented programming, relatively often preferring stop motion and puppetry over cel animation. Japanese anime TV series became very successful internationally since the 1960s, and European producers looking for affordable cel animators relatively often started co-productions with Japanese studios, resulting in hit series such as Barbapapa (The Netherlands/Japan/France 1973–1977), Wickie und die starken Männer/小さなバイキング ビッケ (Vicky the Viking) (Austria/Germany/Japan 1974), and The Jungle Book (Italy/Japan 1989). Switch from cels to computers Computer animation was gradually developed since the 1940s. 3D wireframe animation started popping up in the mainstream in the 1970s, with an early (short) appearance in the sci-fi thriller Futureworld (1976). The Rescuers Down Under was the first feature film to be completely created digitally without a camera. It was produced in a style that's very similar to traditional cel animation on the Computer Animation Production System (CAPS), developed by The Walt Disney Company in collaboration with Pixar in the late 1980s. The so-called 3D style, more often associated with computer animation, became the dominant technique following the release of Pixar's Toy Story (1995), the first computer-animated feature in this style. Most of the cel animation studios switched to producing mostly computer animated films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing new styles and effects. Economic status In 2010, the animation market was estimated to be worth circa US$80 billion. By 2020, the value had increased to an estimated US$270 billion. Animated feature-length films returned the highest gross margins (around 52%) of all film genres between 2004 and 2013. Animation as an art and industry continues to thrive as of the early 2020s. Education, propaganda and commercials The clarity of animation makes it a powerful tool for instruction, while its total malleability also allows exaggeration that can be employed to convey strong emotions and to thwart reality. It has therefore been widely used for other purposes than mere entertainment. During World War II, animation was widely exploited for propaganda. Many American studios, including Warner Bros. |
and Disney, lent their talents and their cartoon characters to convey to the public certain war values. Some countries, including China, Japan and the United Kingdom, produced their first feature-length animation for their war efforts. Animation has been very popular in television commercials, both due to its graphic appeal, and the humour it can provide. Some animated characters in commercials have survived for decades, such as Snap, Crackle and Pop in advertisements for Kellogg's cereals. Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company. Other media, merchandise and theme parks Apart from their success in movie theaters and television series, many cartoon characters would also prove extremely lucrative when licensed for all kinds of merchandise and for other media. Animation has traditionally been very closely related to comic books. While many comic book characters found their way to the screen (which is often the case in Japan, where many manga are adapted into anime), original animated characters also commonly appear in comic books and magazines. Somewhat similarly, characters and plots for video games (an interactive animation medium) have been derived from films and vice versa. Some of the original content produced for the screen can be used and marketed in other media. Stories and images can easily be adapted into children's books and other printed media. Songs and music have appeared on records and as streaming media. While very many animation companies commercially exploit their creations outside moving image media, The Walt Disney Company is the best known and most extreme example. Since first being licensed for a children's writing tablet in 1929, their Mickey Mouse mascot has been depicted on an enormous amount of products, as have many other Disney characters. This may have influenced some pejorative use of Mickey's name, but licensed Disney products sell well, and the so-called Disneyana has many avid collectors, and even a dedicated Disneyana fanclub (since 1984). Disneyland opened in 1955 and features many attractions that were based on Disney's cartoon characters. Its enormous success spawned several other Disney theme parks and resorts. Disney's earnings from the theme parks have relatively often been higher than those from their movies. Criticism Criticism of animation has been common in media and cinema since its inception. With its popularity, a large amount of criticism has arisen, especially animated feature-length films. Criticisms regarding cultural |
representation and psychological effects on children have been raised around the animation industry, which some claim has remained politically unchanged and stagnant since its inception into mainstream culture. Awards As with any other form of media, animation has instituted awards for excellence in the field. Many are part of general or regional film award programs, like the China's Golden Rooster Award for Best Animation (since 1981). Awards programs dedicated to animation, with many categories, include ASIFA-Hollywood's Annie Awards, the Emile Awards in Europe and the Anima Mundi awards in Brazil. Academy Awards Apart from Academy Awards for Best Animated Short Film (since 1932) and Best Animated Feature (since 2002), animated movies have been nominated and rewarded in other categories, relatively often for Best Original Song and Best Original Score. Beauty and the Beast was the first animated film nominated for Best Picture, in 1991. Up (2009) and Toy Story 3 (2010) also received Best Picture nominations, after the academy expanded the number of nominees from five to ten. Production The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of filmmaking, with certain unique aspects. Traits common to both live-action and animated feature-length films are labor intensity and high production costs. The most important difference is that once a film is in the production phase, the marginal cost of one more shot is higher for animated films than live-action films. It is relatively easy for a director to ask for one more take during principal photography of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation). It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film. Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the film over to the animators only after the production team is satisfied that all the scenes make sense as a whole. While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (i.e., real-time improvisation). Another problem unique to animation is the requirement to maintain a |
film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film. Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult. This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. Character designers on the visual development team draw model sheets to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles. On traditionally animated projects, maquettes were often sculpted to further help the animators see how characters would look from different angles. Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film. In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also continuing to use story departments) and screenplays had become commonplace for animated films by the late 1980s. Techniques Traditional Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by a rostrum camera onto motion picture film. The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media with digital video. |
The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 90 years. Some animation producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer technology. Examples of traditionally animated feature films include Pinocchio (United States, 1940), Animal Farm (United Kingdom, 1954), Lucky and Zorba (Italy, 1998), and The Illusionist (British-French, 2010). Traditionally animated films produced with the aid of computer technology include The Lion King (US, 1994), The Prince of Egypt (US, 1998), Akira (Japan, 1988), Spirited Away (Japan, 2001), The Triplets of Belleville (France, 2003), and The Secret of Kells (Irish-French-Belgian, 2009). Full Full animation is the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement, having a smooth animation. Fully animated films can be made in a variety of styles, from more realistically animated works like those produced by the Walt Disney studio (The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King) to the more 'cartoon' styles of the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works, The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007). Fully animated films are often animated on "twos", sometimes on "ones", which means that 12 to 24 drawings are required for a single second of film. Limited Limited animation involves the use of less detailed or more stylized drawings and methods of movement usually a choppy or "skippy" movement animation. Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing-Boing (US, 1951), Yellow Submarine (UK, 1968), and certain anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons). Rotoscoping Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in The Lord of the Rings (US, 1978), or |
used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are Fire and Ice (US, 1983), Heavy Metal (1981), and Aku no Hana (Japan, 2013). Live-action blending Live-action/animation is a technique combining hand-drawn characters into live action shots or live-action actors into animated shots. One of the earlier uses was in Koko the Clown when Koko was drawn over live-action footage. Walt Disney and Ub Iwerks created a series of Alice Comedies (1923–1927), in which a live-action girl enters an animated world. Other examples include Allegro Non Troppo (Italy, 1976), Who Framed Roger Rabbit (US, 1988), Volere volare (Italy 1991), Space Jam (US, 1996) and Osmosis Jones (US, 2001). Stop motion Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the medium used to create the animation. Computer software is widely available to create this type of animation; traditional stop-motion animation is usually less expensive but more time-consuming to produce than current computer animation. Puppet animation Typically involves stop-motion puppet figures interacting in a constructed environment, in contrast to real-world interaction in model animation. The puppets generally have an armature inside of them to keep them still and steady to constrain their motion to particular joints. Examples include The Tale of the Fox (France, 1937), The Nightmare Before Christmas (US, 1993), Corpse Bride (US, 2005), Coraline (US, 2009), the films of Jiří Trnka and the adult animated sketch-comedy television series Robot Chicken (US, 2005–present). Puppetoon Created using techniques developed by George Pal, are puppet-animated films that typically use a different version of a puppet for different frames, rather than manipulating one existing puppet. Clay animation or Plasticine animation (Often called claymation, which, however, is a trademarked name). It uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an armature or wire frame inside, similar to the related puppet animation (below), that can be manipulated to pose the figures. Alternatively, the figures may be made entirely of clay, in the films of Bruce Bickford, where clay creatures morph into a variety of different shapes. Examples of clay-animated works include The Gumby Show (US, 1957–1967), Mio Mao (Italy, 1974–2005), Morph |
shorts (UK, 1977–2000), Wallace and Gromit shorts (UK, as of 1989), Jan Švankmajer's Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK, 1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit, Chicken Run and The Adventures of Mark Twain. Strata-cut animation Most commonly a form of clay animation in which a long bread-like "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the animation camera taking a frame of the end of the loaf for each cut, eventually revealing the movement of the internal images within. Cutout animation A type of stop-motion animation produced by moving two-dimensional pieces of material paper or cloth. Examples include Terry Gilliam's animated sequences from Monty Python's Flying Circus (UK, 1969–1974); Fantastic Planet (France/Czechoslovakia, 1973); Tale of Tales (Russia, 1979), The pilot episode of the adult television sitcom series (and sometimes in episodes) of South Park (US, 1997) and the music video Live for the moment, from Verona Riots band (produced by Alberto Serrano and Nívola Uyá, Spain 2014). Silhouette animation A variant of cutout animation in which the characters are backlit and only visible as silhouettes. Examples include The Adventures of Prince Achmed (Weimar Republic, 1926) and Princes et Princesses (France, 2000). Model animation Stop-motion animation created to interact with and exist as a part of a live-action world. Intercutting, matte effects and split screens are often employed to blend stop-motion characters or objects with live actors and settings. Examples include the work of Ray Harryhausen, as seen in films, Jason and the Argonauts (1963), and the work of Willis H. O'Brien on films, King Kong (1933). Go motion A variant of model animation that uses various techniques to create motion blur between frames of film, which is not present in traditional stop motion. The technique was invented by Industrial Light & Magic and Phil Tippett to create special effect scenes for the film Star Wars: Episode V - The Empire Strikes Back (1980). Another example is the dragon named "Vermithrax" from the 1981 film Dragonslayer. Object animation The use of regular inanimate objects in stop-motion animation, as opposed to specially created items. Graphic animation Uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.), which are sometimes manipulated frame by frame to create movement. At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action. Brickfilm |
A subgenre of object animation involving using Lego or other similar brick toys to make an animation. These have had a recent boost in popularity with the advent of video sharing sites, YouTube and the availability of cheap cameras and animation software. Pixilation Involves the use of live humans as stop-motion characters. This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other effects. Examples of pixilation include The Secret Adventures of Tom Thumb and Angry Kid shorts, and the Academy Award-winning Neighbours by Norman McLaren. Computer Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer. 2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer. 2D 2D animation figures are created or edited on the computer using 2D bitmap graphics and 2D vector graphics. This includes automated computerized versions of traditional animation techniques, interpolated morphing, onion skinning and interpolated rotoscoping. 2D animation has many applications, including analog computer animation, Flash animation, and PowerPoint animation. Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated. Final line advection animation is a technique used in 2D animation, to give artists and animators more influence and control over the final product as everything is done within the same department. Speaking about using this approach in Paperman, John Kahrs said that "Our animators can change things, actually erase away the CG underlayer if they want, and change the profile of the arm." 3D 3D animation is digitally modeled and manipulated by an animator. The 3D model maker usually starts by creating a 3D polygon mesh for the animator to manipulate. A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D environment. Sometimes, the mesh is given an internal digital skeletal structure called an armature that can be used to control the mesh by weighting the vertices. This process is called rigging and can be used in conjunction with key frames to create movement. Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and effects, fire and |
water simulations. These techniques fall under the category of 3D dynamics. Terms Cel-shaded animation is used to mimic traditional animation using computer software. The shading looks stark, with less blending of colors. Examples include Skyland (2007, France), The Iron Giant (1999, United States), Futurama (1999, United States) Appleseed Ex Machina (2007, Japan), The Legend of Zelda: The Wind Waker (2002, Japan), The Legend of Zelda: Breath of the Wild (2017, Japan) Machinima – Films created by screen capturing in video games and virtual worlds. The term originated from the software introduction in the 1980s demoscene, as well as the 1990s recordings of the first-person shooter video game Quake. Motion capture is used when live-action actors wear special suits that allow computers to copy their movements into CG characters. Examples include Polar Express (2004, US), Beowulf (2007, US), A Christmas Carol (2009, US), The Adventures of Tintin (2011, US) kochadiiyan (2014, India) Computer animation is used primarily for animation that attempts to resemble real life, using advanced rendering that mimics in detail skin, plants, water, fire, clouds, etc. Examples include Up (2009, US), How to Train Your Dragon (2010, US) Physically based animation is animation using computer simulations. Mechanical Animatronics is the use of mechatronics to create machines that seem animate rather than robotic. Audio-Animatronics and Autonomatronics is a form of robotics animation, combined with 3-D animation, created by Walt Disney Imagineering for shows and attractions at Disney theme parks move and make noise (generally a recorded speech or song). They are fixed to whatever supports them. They can sit and stand, and they cannot walk. An Audio-Animatron is different from an android-type robot in that it uses prerecorded movements and sounds, rather than responding to external stimuli. In 2009, Disney created an interactive version of the technology called Autonomatronics. Linear Animation Generator is a form of animation by using static picture frames installed in a tunnel or a shaft. The animation illusion is created by putting the viewer in a linear motion, parallel to the installed picture frames. The concept and the technical solution were invented in 2007 by Mihai Girlovan in Romania. Chuckimation is a type of animation created by the makers of the television series Action League Now! in which characters/props are thrown, or chucked from off camera or wiggled around to simulate talking by unseen hands. The magic lantern used mechanical slides to project moving images, probably |
since Christiaan Huygens invented this early image projector in 1659. Other Hydrotechnics: a technique that includes lights, water, fire, fog, and lasers, with high-definition projections on mist screens. Drawn on film animation: a technique where footage is produced by creating the images directly on film stock; for example, by Norman McLaren, Len Lye and Stan Brakhage. Paint-on-glass animation: a technique for making animated films by manipulating slow drying oil paints on sheets of glass, for example by Aleksandr Petrov. Erasure animation: a technique using traditional 2D media, photographed over time as the artist manipulates the image. For example, William Kentridge is famous for his charcoal erasure films, and Piotr Dumała for his auteur technique of animating scratches on plaster. Pinscreen animation: makes use of a screen filled with movable pins that can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation. Sand animation: sand is moved around on a back- or front-lighted piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of the light contrast. Flip book: a flip book (sometimes, especially in British English, called a flick book) is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip books are often illustrated books for children, they also are geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, they appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books. Character animation Multi-sketching Special effects animation See also Twelve basic principles of animation Animated war film Animation department Animated series Architectural animation Avar Independent animation International Animation Day International Animated Film Association International Tournée of Animation List of film-related topics Motion graphic design Society for Animation Studies Wire-frame model References Citations Sources Journal articles Books Online sources External links The making of an 8-minute cartoon short "Animando", a 12-minute film demonstrating 10 different animation |
techniques (and teaching how to use them) (archived 1 October 2009). Cartooning Articles containing video clips Film and video technology |
Apollo is one of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The national divinity of the Greeks, Apollo has been recognized as a god of archery, music and dance, truth and prophecy, healing and diseases, the Sun and light, poetry, and more. One of the most important and complex of the Greek gods, he is the son of Zeus and Leto, and the twin brother of Artemis, goddess of the hunt. Seen as the most beautiful god and the ideal of the kouros (ephebe, or a beardless, athletic youth), Apollo is considered to be the most Greek of all the gods. Apollo is known in Greek-influenced Etruscan mythology as Apulu. As the patron deity of Delphi (Apollo Pythios), Apollo is an oracular god—the prophetic deity of the Delphic Oracle. Apollo is the god who affords help and wards off evil; various epithets call him the "averter of evil". Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius. Apollo delivered people from epidemics, yet he is also a god who could bring ill-health and deadly plague with his arrows. The invention of archery itself is credited to Apollo and his sister Artemis. Apollo is usually described as carrying a silver or golden bow and a quiver of silver or golden arrows. Apollo's capacity to make youths grow is one of the best attested facets of his panhellenic cult persona. As a protector of the young (), Apollo is concerned with the health and education of children. He presided over their passage into adulthood. Long hair, which was the prerogative of boys, was cut at the coming of age () and dedicated to Apollo. Apollo is an important pastoral deity, and was the patron of herdsmen and shepherds. Protection of herds, flocks and crops from diseases, pests and predators were his primary duties. On the other hand, Apollo also encouraged founding new towns and establishment of civil constitution. He is associated with dominion over colonists. He was the giver of laws, and his oracles were consulted before setting laws in a city. As the god of mousike, Apollo presides over all music, songs, dance and poetry. He is the inventor of string-music, and the frequent companion of the Muses, functioning as their chorus leader in celebrations. The lyre is a common attribute of Apollo. In Hellenistic |
times, especially during the 5th century BCE, as Apollo Helios he became identified among Greeks with Helios, the personification of the Sun. In Latin texts, however, there was no conflation of Apollo with Sol among the classical Latin poets until 1st century CE. Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 5th century CE. Etymology Apollo (Attic, Ionic, and Homeric Greek: , ( ); Doric: , ; Arcadocypriot: , ; Aeolic: , ; ) The name Apollo—unlike the related older name Paean—is generally not found in the Linear B (Mycenean Greek) texts, although there is a possible attestation in the lacunose form ]pe-rjo-[ (Linear B: ]-[) on the KN E 842 tablet, though it has also been suggested that the name might actually read "Hyperion" ([u]-pe-rjo-[ne]). The etymology of the name is uncertain. The spelling ( in Classical Attic) had almost superseded all other forms by the beginning of the common era, but the Doric form, (), is more archaic, as it is derived from an earlier . It probably is a cognate to the Doric month Apellaios (), and the offerings () at the initiation of the young men during the family-festival (). According to some scholars, the words are derived from the Doric word (), which originally meant "wall," "fence for animals" and later "assembly within the limits of the square." Apella () is the name of the popular assembly in Sparta, corresponding to the (). R. S. P. Beekes rejected the connection of the theonym with the noun and suggested a Pre-Greek proto-form *Apalyun. Several instances of popular etymology are attested from ancient authors. Thus, the Greeks most often associated Apollo's name with the Greek verb (), "to destroy". Plato in Cratylus connects the name with (), "redemption", with (apolousis), "purification", and with (), "simple", in particular in reference to the Thessalian form of the name, , and finally with (), "ever-shooting". Hesychius connects the name Apollo with the Doric (), which means "assembly", so that Apollo would be the god of political life, and he also gives the explanation (), "fold", in which case Apollo would be the god of flocks and herds. In the ancient Macedonian language () means "stone," and some toponyms may be derived from this word: (Pella, the capital of ancient Macedonia) and (Pellēnē/Pellene). The Hittite form Apaliunas (d) is attested in the Manapa-Tarhunta letter. The Hittite |
testimony reflects an early form , which may also be surmised from comparison of Cypriot with Doric . The name of the Lydian god Qλdãns /kʷʎðãns/ may reflect an earlier /kʷalyán-/ before palatalization, syncope, and the pre-Lydian sound change *y > d. Note the labiovelar in place of the labial /p/ found in pre-Doric Ἀπέλjων and Hittite Apaliunas. A Luwian etymology suggested for Apaliunas makes Apollo "The One of Entrapment", perhaps in the sense of "Hunter". Greco-Roman epithets Apollo's chief epithet was Phoebus ( ; , Phoibos ), literally "bright". It was very commonly used by both the Greeks and Romans for Apollo's role as the god of light. Like other Greek deities, he had a number of others applied to him, reflecting the variety of roles, duties, and aspects ascribed to the god. However, while Apollo has a great number of appellations in Greek myth, only a few occur in Latin literature. Sun Aegletes ( ; Αἰγλήτης, Aiglētēs), from , "light of the sun" Helius ( ; , Helios), literally "sun" Lyceus ( ; , Lykeios, from Proto-Greek *), "light". The meaning of the epithet "Lyceus" later became associated with Apollo's mother Leto, who was the patron goddess of Lycia () and who was identified with the wolf (). Phanaeus ( ; , Phanaios), literally "giving or bringing light" Phoebus ( ; , Phoibos), literally "bright", his most commonly used epithet by both the Greeks and Romans Sol (Roman) (), "sun" in Latin Wolf Lycegenes ( ; , Lukēgenēs), literally "born of a wolf" or "born of Lycia" Lycoctonus ( ; , Lykoktonos), from , "wolf", and , "to kill" Origin and birth Apollo's birthplace was Mount Cynthus on the island of Delos. Cynthius ( ; , Kunthios), literally "Cynthian" Cynthogenes ( ; , Kynthogenēs), literally "born of Cynthus" Delius ( ; Δήλιος, Delios), literally "Delian" Didymaeus ( ; , Didymaios) from δίδυμος, "twin", as the twin of Artemis Place of worship Delphi and Actium were his primary places of worship. Acraephius ( ; , Akraiphios, literally "Acraephian") or Acraephiaeus ( ; , Akraiphiaios), "Acraephian", from the Boeotian town of Acraephia (), reputedly founded by his son Acraepheus. Actiacus ( ; , Aktiakos), literally "Actian", after Actium () Delphinius ( ; , Delphinios), literally "Delphic", after Delphi (Δελφοί). An etiology in the Homeric Hymns associated this with dolphins. Epactaeus, meaning "god worshipped on the coast", in Samos. Pythius ( |
; , Puthios, from Πυθώ, Pythō), from the region around Delphi Smintheus ( ; , Smintheus), "Sminthian"—that is, "of the town of Sminthos or Sminthe" near the Troad town of Hamaxitus Napaian Apollo (Ἀπόλλων Ναπαῖος), from the city of Nape at the island of Lesbos Healing and disease Acesius ( ; , Akesios), from , "healing". Acesius was the epithet of Apollo worshipped in Elis, where he had a temple in the agora. Acestor ( ; , Akestōr), literally "healer" Culicarius (Roman) ( ), from Latin culicārius, "of midges" Iatrus ( ; , Iātros), literally "physician" Medicus (Roman) ( ), "physician" in Latin. A temple was dedicated to Apollo Medicus at Rome, probably next to the temple of Bellona. Paean ( ; , Paiān), physician, healer Parnopius ( ; , Parnopios), from , "locust" Founder and protector Agyieus ( ; , Aguīeus), from , "street", for his role in protecting roads and homes Alexicacus ( ; , Alexikakos), literally "warding off evil" Apotropaeus ( ; , Apotropaios), from , "to avert" Archegetes ( ; , Arkhēgetēs), literally "founder" Averruncus (Roman) ( ; from Latin āverruncare), "to avert" Clarius ( ; , Klārios), from Doric , "allotted lot" Epicurius ( ; , Epikourios), from , "to aid" Genetor ( ; , Genetōr), literally "ancestor" Nomius ( ; , Nomios), literally "pastoral" Nymphegetes ( ; , Numphēgetēs), from , "Nymph", and , "leader", for his role as a protector of shepherds and pastoral life Patroos from , "related to one's father," for his role as father of Ion and founder of the Ionians, as worshipped at the Temple of Apollo Patroos in Athens Sauroctunos, "lizard killer", possibly a reference to his killing of Python Prophecy and truth Coelispex (Roman) ( ), from Latin coelum, "sky", and specere "to look at" Iatromantis ( ; , Iātromantis,) from , "physician", and , "prophet", referring to his role as a god both of healing and of prophecy Leschenorius ( ; , Leskhēnorios), from , "converser" Loxias ( ; , Loxias), from , "to say", historically associated with , "ambiguous" Manticus ( ; , Mantikos), literally "prophetic" Proopsios (), meaning "foreseer" or "first seen" Music and arts Musagetes ( ; Doric , Mousāgetās), from , "Muse", and "leader" Musegetes ( ; , Mousēgetēs), as the preceding Archery Aphetor ( ; , Aphētōr), from , "to let loose" Aphetorus ( ; , Aphētoros), as the preceding Arcitenens |
(Roman) ( ), literally "bow-carrying" Argyrotoxus ( ; , Argyrotoxos), literally "with silver bow" Clytotoxus ( ; , Klytótoxos), "he who is famous for his bow", the renowned archer. Hecaërgus ( ; , Hekaergos), literally "far-shooting" Hecebolus ( ; , Hekēbolos), "far-shooting" Ismenius ( ; , Ismēnios), literally "of Ismenus", after Ismenus, the son of Amphion and Niobe, whom he struck with an arrow Appearance Acersecomes (, Akersekómēs), "he who has unshorn hair", the eternal ephebe. Chrysocomes ( ; , Khrusokómēs), literally "he who has golden hair." Amazons Amazonius (), Pausanias at the Description of Greece writes that near Pyrrhichus there was a sanctuary of Apollo, called Amazonius () with image of the god said to have been dedicated by the Amazons. Other Patroos (Πατρώος, ancestral), there is the Temple of Apollo Patroos at the Ancient Agora of Athens Celtic epithets and cult titles Apollo was worshipped throughout the Roman Empire. In the traditionally Celtic lands, he was most often seen as a healing and sun god. He was often equated with Celtic gods of similar character. Apollo Atepomarus ("the great horseman" or "possessing a great horse"). Apollo was worshipped at Mauvières (Indre). Horses were, in the Celtic world, closely linked to the sun. Apollo Belenus ("bright" or "brilliant"). This epithet was given to Apollo in parts of Gaul, Northern Italy and Noricum (part of modern Austria). Apollo Belenus was a healing and sun god. Apollo Cunomaglus ("hound lord"). A title given to Apollo at a shrine at Nettleton Shrub, Wiltshire. May have been a god of healing. Cunomaglus himself may originally have been an independent healing god. Apollo Grannus. Grannus was a healing spring god, later equated with Apollo. Apollo Maponus. A god known from inscriptions in Britain. This may be a local fusion of Apollo and Maponus. Apollo Moritasgus ("masses of sea water"). An epithet for Apollo at Alesia, where he was worshipped as god of healing and, possibly, of physicians. Apollo Vindonnus ("clear light"). Apollo Vindonnus had a temple at Essarois, near Châtillon-sur-Seine in present-day Burgundy. He was a god of healing, especially of the eyes. Apollo Virotutis ("benefactor of mankind"). Apollo Virotutis was worshipped, among other places, at Fins d'Annecy (Haute-Savoie) and at Jublains (Maine-et-Loire). Origins The cult centers of Apollo in Greece, Delphi and Delos, date from the 8th century BCE. The Delos sanctuary was primarily dedicated to Artemis, Apollo's twin sister. At Delphi, Apollo |
was venerated as the slayer of the monstrous serpent Python. For the Greeks, Apollo was the most Greek of all the gods, and through the centuries he acquired different functions. In Archaic Greece he was the prophet, the oracular god who in older times was connected with "healing". In Classical Greece he was the god of light and of music, but in popular religion he had a strong function to keep away evil. Walter Burkert discerned three components in the prehistory of Apollo worship, which he termed "a Dorian-northwest Greek component, a Cretan-Minoan component, and a Syro-Hittite component." Healer and god-protector from evil In classical times, his major function in popular religion was to keep away evil, and he was therefore called "apotropaios" (, "averting evil") and "alexikakos" ( "keeping off ill"; from v. + n. ). Apollo also had many epithets relating to his function as a healer. Some commonly-used examples are "paion" ( literally "healer" or "helper") "epikourios" (, "succouring"), "oulios" (, "healer, baleful") and "loimios" (, "of the plague"). In later writers, the word, "paion", usually spelled "Paean", becomes a mere epithet of Apollo in his capacity as a god of healing. Apollo in his aspect of "healer" has a connection to the primitive god Paean (), who did not have a cult of his own. Paean serves as the healer of the gods in the Iliad, and seems to have originated in a pre-Greek religion. It is suggested, though unconfirmed, that he is connected to the Mycenaean figure pa-ja-wo-ne (Linear B: ). Paean was the personification of holy songs sung by "seer-doctors" (), which were supposed to cure disease. Homer illustrated Paeon the god and the song both of apotropaic thanksgiving or triumph. Such songs were originally addressed to Apollo and afterwards to other gods: to Dionysus, to Apollo Helios, to Apollo's son Asclepius the healer. About the 4th century BCE, the paean became merely a formula of adulation; its object was either to implore protection against disease and misfortune or to offer thanks after such protection had been rendered. It was in this way that Apollo had become recognized as the god of music. Apollo's role as the slayer of the Python led to his association with battle and victory; hence it became the Roman custom for a paean to be sung by an army on the march and before entering into battle, when a |
fleet left the harbour, and also after a victory had been won. In the Iliad, Apollo is the healer under the gods, but he is also the bringer of disease and death with his arrows, similar to the function of the Vedic god of disease Rudra. He sends a plague () to the Achaeans. Knowing that Apollo can prevent a recurrence of the plague he sent, they purify themselves in a ritual and offer him a large sacrifice of cows, called a hecatomb. Dorian origin The Homeric Hymn to Apollo depicts Apollo as an intruder from the north. The connection with the northern-dwelling Dorians and their initiation festival apellai is reinforced by the month Apellaios in northwest Greek calendars. The family-festival was dedicated to Apollo (Doric: ). Apellaios is the month of these rites, and Apellon is the "megistos kouros" (the great Kouros). However it can explain only the Doric type of the name, which is connected with the Ancient Macedonian word "pella" (Pella), stone. Stones played an important part in the cult of the god, especially in the oracular shrine of Delphi (Omphalos). Minoan origin George Huxley regarded the identification of Apollo with the Minoan deity Paiawon, worshipped in Crete, to have originated at Delphi. In the Homeric Hymn, Apollo appeared as a dolphin and carried Cretan priests to Delphi, where they evidently transferred their religious practices. Apollo Delphinios or Delphidios was a sea-god especially worshipped in Crete and in the islands. Apollo's sister Artemis, who was the Greek goddess of hunting, is identified with Britomartis (Diktynna), the Minoan "Mistress of the animals". In her earliest depictions she was accompanied by the "Master of the animals", a bow-wielding god of hunting whose name has been lost; aspects of this figure may have been absorbed into the more popular Apollo. Anatolian origin A non-Greek origin of Apollo has long been assumed in scholarship. The name of Apollo's mother Leto has Lydian origin, and she was worshipped on the coasts of Asia Minor. The inspiration oracular cult was probably introduced into Greece from Anatolia, which is the origin of Sibyl, and where some of the oldest oracular shrines originated. Omens, symbols, purifications, and exorcisms appear in old Assyro-Babylonian texts. These rituals were spread into the empire of the Hittites, and from there into Greece. Homer pictures Apollo on the side of the Trojans, fighting against the Achaeans, during the Trojan War. |
He is pictured as a terrible god, less trusted by the Greeks than other gods. The god seems to be related to Appaliunas, a tutelary god of Wilusa (Troy) in Asia Minor, but the word is not complete. The stones found in front of the gates of Homeric Troy were the symbols of Apollo. A western Anatolian origin may also be bolstered by references to the parallel worship of Artimus (Artemis) and Qλdãns, whose name may be cognate with the Hittite and Doric forms, in surviving Lydian texts. However, recent scholars have cast doubt on the identification of Qλdãns with Apollo. The Greeks gave to him the name agyieus as the protector god of public places and houses who wards off evil and his symbol was a tapered stone or column. However, while usually Greek festivals were celebrated at the full moon, all the feasts of Apollo were celebrated at the seventh day of the month, and the emphasis given to that day (sibutu) indicates a Babylonian origin. The Late Bronze Age (from 1700 to 1200 BCE) Hittite and Hurrian Aplu was a god of plague, invoked during plague years. Here we have an apotropaic situation, where a god originally bringing the plague was invoked to end it. Aplu, meaning the son of, was a title given to the god Nergal, who was linked to the Babylonian god of the sun Shamash. Homer interprets Apollo as a terrible god () who brings death and disease with his arrows, but who can also heal, possessing a magic art that separates him from the other Greek gods. In Iliad, his priest prays to Apollo Smintheus, the mouse god who retains an older agricultural function as the protector from field rats. All these functions, including the function of the healer-god Paean, who seems to have Mycenean origin, are fused in the cult of Apollo. Proto-Indo-European The Vedic Rudra has some similar functions with Apollo. The terrible god is called "the archer" and the bow is also an attribute of Shiva. Rudra could bring diseases with his arrows, but he was able to free people of them and his alternative Shiva is a healer physician god. However the Indo-European component of Apollo does not explain his strong relation with omens, exorcisms, and with the oracular cult. Oracular cult Unusually among the Olympic deities, Apollo had two cult sites that had widespread influence: Delos and |
Delphi. In cult practice, Delian Apollo and Pythian Apollo (the Apollo of Delphi) were so distinct that they might both have shrines in the same locality. Lycia was sacred to the god, for this Apollo was also called Lycian. Apollo's cult was already fully established when written sources commenced, about 650 BCE. Apollo became extremely important to the Greek world as an oracular deity in the archaic period, and the frequency of theophoric names such as Apollodorus or Apollonios and cities named Apollonia testify to his popularity. Oracular sanctuaries to Apollo were established in other sites. In the 2nd and 3rd century CE, those at Didyma and Claros pronounced the so-called "theological oracles", in which Apollo confirms that all deities are aspects or servants of an all-encompassing, highest deity. "In the 3rd century, Apollo fell silent. Julian the Apostate (359–361) tried to revive the Delphic oracle, but failed." Oracular shrines Apollo had a famous oracle in Delphi, and other notable ones in Claros and Didyma. His oracular shrine in Abae in Phocis, where he bore the toponymic epithet Abaeus (, Apollon Abaios), was important enough to be consulted by Croesus. His oracular shrines include: Abae in Phocis. Bassae in the Peloponnese. At Clarus, on the west coast of Asia Minor; as at Delphi a holy spring which gave off a pneuma, from which the priests drank. In Corinth, the Oracle of Corinth came from the town of Tenea, from prisoners supposedly taken in the Trojan War. At Khyrse, in Troad, the temple was built for Apollo Smintheus. In Delos, there was an oracle to the Delian Apollo, during summer. The Hieron (Sanctuary) of Apollo adjacent to the Sacred Lake, was the place where the god was said to have been born. In Delphi, the Pythia became filled with the pneuma of Apollo, said to come from a spring inside the Adyton. In Didyma, an oracle on the coast of Anatolia, south west of Lydian (Luwian) Sardis, in which priests from the lineage of the Branchidae received inspiration by drinking from a healing spring located in the temple. Was believed to have been founded by Branchus, son or lover of Apollo. In Hierapolis Bambyce, Syria (modern Manbij), according to the treatise De Dea Syria, the sanctuary of the Syrian Goddess contained a robed and bearded image of Apollo. Divination was based on spontaneous movements of this image. At Patara, in Lycia, |
there was a seasonal winter oracle of Apollo, said to have been the place where the god went from Delos. As at Delphi the oracle at Patara was a woman. In Segesta in Sicily. Oracles were also given by sons of Apollo. In Oropus, north of Athens, the oracle Amphiaraus, was said to be the son of Apollo; Oropus also had a sacred spring. in Labadea, east of Delphi, Trophonius, another son of Apollo, killed his brother and fled to the cave where he was also afterwards consulted as an oracle. Temples of Apollo Many temples were dedicated to Apollo in Greece and the Greek colonies. They show the spread of the cult of Apollo and the evolution of the Greek architecture, which was mostly based on the rightness of form and on mathematical relations. Some of the earliest temples, especially in Crete, do not belong to any Greek order. It seems that the first peripteral temples were rectangular wooden structures. The different wooden elements were considered divine, and their forms were preserved in the marble or stone elements of the temples of Doric order. The Greeks used standard types because they believed that the world of objects was a series of typical forms which could be represented in several instances. The temples should be canonic, and the architects were trying to achieve this esthetic perfection. From the earliest times there were certain rules strictly observed in rectangular peripteral and prostyle buildings. The first buildings were built narrowly in order to hold the roof, and when the dimensions changed some mathematical relations became necessary in order to keep the original forms. This probably influenced the theory of numbers of Pythagoras, who believed that behind the appearance of things there was the permanent principle of mathematics. The Doric order dominated during the 6th and the 5th century BC but there was a mathematical problem regarding the position of the triglyphs, which couldn't be solved without changing the original forms. The order was almost abandoned for the Ionic order, but the Ionic capital also posed an insoluble problem at the corner of a temple. Both orders were abandoned for the Corinthian order gradually during the Hellenistic age and under Rome. The most important temples are: Greek temples Thebes, Greece: The oldest temple probably dedicated to Apollo Ismenius was built in the 9th century B.C. It seems that it was a curvilinear building. |
The Doric temple was built in the early 7th century B.C., but only some small parts have been found A festival called Daphnephoria was celebrated every ninth year in honour of Apollo Ismenius (or Galaxius). The people held laurel branches (daphnai), and at the head of the procession walked a youth (chosen priest of Apollo), who was called "daphnephoros". Eretria: According to the Homeric hymn to Apollo, the god arrived to the plain, seeking for a location to establish its oracle. The first temple of Apollo Daphnephoros, "Apollo, laurel-bearer", or "carrying off Daphne", is dated to 800 B.C. The temple was curvilinear hecatombedon (a hundred feet). In a smaller building were kept the bases of the laurel branches which were used for the first building. Another temple probably peripteral was built in the 7th century B.C., with an inner row of wooden columns over its Geometric predecessor. It was rebuilt peripteral around 510 B.C., with the stylobate measuring 21,00 x 43,00 m. The number of pteron column was 6 x 14. Dreros (Crete). The temple of Apollo Delphinios dates from the 7th century B.C., or probably from the middle of the 8th century B.C. According to the legend, Apollo appeared as a dolphin, and carried Cretan priests to the port of Delphi. The dimensions of the plan are 10,70 x 24,00 m and the building was not peripteral. It contains column-bases of the Minoan type, which may be considered as the predecessors of the Doric columns. Gortyn (Crete). A temple of Pythian Apollo, was built in the 7th century B.C. The plan measured 19,00 x 16,70 m and it was not peripteral. The walls were solid, made from limestone, and there was single door on the east side. Thermon (West Greece): The Doric temple of Apollo Thermios, was built in the middle of the 7th century B.C. It was built on an older curvilinear building dating perhaps from the 10th century B.C., on which a peristyle was added. The temple was narrow, and the number of pteron columns (probably wooden) was 5 x 15. There was a single row of inner columns. It measures 12.13 x 38.23 m at the stylobate, which was made from stones. Corinth: A Doric temple was built in the 6th century B.C. The temple's stylobate measures 21.36 x 53.30 m, and the number of pteron columns was 6 x 15. There was a double row |
of inner columns. The style is similar with the Temple of Alcmeonidae at Delphi. The Corinthians were considered to be the inventors of the Doric order. Napes (Lesbos): An Aeolic temple probably of Apollo Napaios was built in the 7th century B.C. Some special capitals with floral ornament have been found, which are called Aeolic, and it seems that they were borrowed from the East. Cyrene, Libya: The oldest Doric temple of Apollo was built in . The number of pteron columns was 6 x 11, and it measures 16.75 x 30.05 m at the stylobate. There was a double row of sixteen inner columns on stylobates. The capitals were made from stone. Naukratis: An Ionic temple was built in the early 6th century B.C. Only some fragments have been found and the earlier, made from limestone, are identified among the oldest of the Ionic order. Syracuse, Sicily: A Doric temple was built at the beginning of the 6th century B.C. The temple's stylobate measures 21.47 x 55.36 m and the number of pteron columns was 6 x 17. It was the first temple in Greek west built completely out of stone. A second row of columns were added, obtaining the effect of an inner porch. Selinus (Sicily):The Doric Temple C dates from 550 B.C., and it was probably dedicated to Apollo. The temple's stylobate measures 10.48 x 41.63 m and the number of pteron columns was 6 x 17. There was portico with a second row of columns, which is also attested for the temple at Syracuse. Delphi: The first temple dedicated to Apollo, was built in the 7th century B.C. According to the legend, it was wooden made of laurel branches. The "Temple of Alcmeonidae" was built in and it is the oldest Doric temple with significant marble elements. The temple's stylobate measures 21.65 x 58.00 m, and the number of pteron columns as 6 x 15. A fest similar with Apollo's fest at Thebes, Greece was celebrated every nine years. A boy was sent to the temple, who walked on the sacred road and returned carrying a laurel branch (dopnephoros). The maidens participated with joyful songs. Chios: An Ionic temple of Apollo Phanaios was built at the end of the 6th century B.C. Only some small parts have been found and the capitals had floral ornament. Abae (Phocis). The temple was destroyed by the Persians in the |
invasion of Xerxes in 480 B.C., and later by the Boeotians. It was rebuilt by Hadrian. The oracle was in use from early Mycenaean times to the Roman period, and shows the continuity of Mycenaean and Classical Greek religion. Bassae (Peloponnesus):A temple dedicated to Apollo Epikourios ("Apollo the helper"), was built in 430 B.C. and it was designed by Iktinos.It combined Doric and Ionic elements, and the earliest use of column with a Corinthian capital in the middle. The temple is of a relatively modest size, with the stylobate measuring 14.5 x 38.3 metres containing a Doric peristyle of 6 x 15 columns. The roof left a central space open to admit light and air. Delos: A temple probably dedicated to Apollo and not peripteral, was built in the late 7th century B.C., with a plan measuring 10,00 x 15,60 m. The Doric Great temple of Apollo, was built in . The temple's stylobate measures 13.72 x 29.78 m, and the number of pteron columns as 6 x 13. Marble was extensively used. Ambracia: A Doric peripteral temple dedicated to Apollo Pythios Sotir was built in 500 B.C., and It is lying at the centre of the Greek city Arta. Only some parts have been found, and it seems that the temple was built on earlier sanctuaries dedicated to Apollo. The temple measures 20,75 x 44,00 m at the stylobate. The foundation which supported the statue of the god, still exists. Didyma (near Miletus): The gigantic Ionic temple of Apollo Didymaios started around 540 B.C. The construction ceased and then it was restarted in 330 B.C. The temple is dipteral, with an outer row of 10 x 21 columns, and it measures 28.90 x 80.75 m at the stylobate. Clarus (near ancient Colophon): According to the legend, the famous seer Calchas, on his return from Troy, came to Clarus. He challenged the seer Mopsus, and died when he lost. The Doric temple of Apollo Clarius was probably built in the 3rd century B.C., and it was peripteral with 6 x 11 columns. It was reconstructed at the end of the Hellenistic period, and later from the emperor Hadrian but Pausanias claims that it was still incomplete in the 2nd century B.C. Hamaxitus (Troad): In Iliad, Chryses the priest of Apollo, addresses the god with the epithet Smintheus (Lord of Mice), related with the god's ancient role as bringer of the |
disease (plague). Recent excavations indicate that the Hellenistic temple of Apollo Smintheus was constructed at 150–125 B.C., but the symbol of the mouse god was used on coinage probably from the 4th century B.C. The temple measures 40,00 x 23,00 m at the stylobate, and the number of pteron columns was 8 x 14. Pythion (), this was the name of a shrine of Apollo at Athens near the Ilisos river. It was created by Peisistratos, and tripods placed there by those who had won in the cyclic chorus at the Thargelia. Setae (Lydia): The temple of Apollo Aksyros located in the city. Apollonia Pontica: There were two temples of Apollo Healer in the city. One from the Late Archaic period and the other from the Early Classical period. Ikaros island in the Persian Gulf (modern Failaka Island): There was a temple of Apollo on the island. Argos in Cyprus: there was a temple of Apollo Erithios (Ἐριθίου Ἀπόλλωνος ἱερῷ). Etruscan and Roman temples Veii (Etruria): The temple of Apollo was built in the late 6th century B.C. and it indicates the spread of Apollo's culture (Aplu) in Etruria. There was a prostyle porch, which is called Tuscan, and a triple cella 18,50 m wide. Falerii Veteres (Etruria): A temple of Apollo was built probably in the 4th-3rd century B.C. Parts of a teraccotta capital, and a teraccotta base have been found. It seems that the Etruscan columns were derived from the archaic Doric. A cult of Apollo Soranus is attested by one inscription found near Falerii. Pompeii (Italy): The cult of Apollo was widespread in the region of Campania since the 6th century B.C. The temple was built in 120 B.C., but its beginnings lie in the 6th century B.C. It was reconstructed after an earthquake in A.D. 63. It demonstrates a mixing of styles which formed the basis of Roman architecture. The columns in front of the cella formed a Tuscan prostyle porch, and the cella is situated unusually far back. The peripteral colonnade of 48 Ionic columns was placed in such a way that the emphasis was given to the front side. Rome: The temple of Apollo Sosianus and the temple of Apollo Medicus. The first temple building dates to 431 B.C., and was dedicated to Apollo Medicus (the doctor), after a plague of 433 B.C. It was rebuilt by Gaius Sosius, probably in 34 B.C. Only |
three columns with Corinthian capitals exist today. It seems that the cult of Apollo had existed in this area since at least to the mid-5th century B.C. Rome:The temple of Apollo Palatinus was located on the Palatine hill within the sacred boundary of the city. It was dedicated by Augustus on 28 B.C. The façade of the original temple was Ionic and it was constructed from solid blocks of marble. Many famous statues by Greek masters were on display in and around the temple, including a marble statue of the god at the entrance and a statue of Apollo in the cella. Melite (modern Mdina, Malta): A Temple of Apollo was built in the city in the 2nd century A.D. Its remains were discovered in the 18th century, and many of its architectural fragments were dispersed among private collections or reworked into new sculptures. Parts of the temple's podium were rediscovered in 2002. Mythology Apollo appears often in the myths, plays and hymns. As Zeus' favorite son, Apollo had direct access to the mind of Zeus and was willing to reveal this knowledge to humans. A divinity beyond human comprehension, he appears both as a beneficial and a wrathful god. Birth Apollo was the son of Zeus, the king of the gods, and Leto, his previous wife or one of his mistresses. Growing up, Apollo was nursed by the nymphs Korythalia and Aletheia, the personification of truth. When Zeus' wife Hera discovered that Leto was pregnant, she banned Leto from giving birth on terra firma. Leto sought shelter in many lands, only to be rejected by them. Finally, the voice of unborn Apollo informed his mother about a floating island named Delos that had once been Asteria, Leto's own sister. Since it was neither a mainland nor an island, Leto was readily welcomed there and gave birth to her children under a palm tree. All the goddesses except Hera were present to witness the event. It is also stated that Hera kidnapped Eileithyia, the goddess of childbirth, to prevent Leto from going into labor. The other gods tricked Hera into letting her go by offering her a necklace of amber 9 yards (8.2 m) long. When Apollo was born, clutching a golden sword, everything on Delos turned into gold and the island was filled with ambrosial fragrance. Swans circled the island seven times and the nymphs sang in delight. He |
was washed clean by the goddesses who then covered him in white garment and fastened golden bands around him. Since Leto was unable to feed him, Themis, the goddess of divine law, fed him with nectar, or ambrosia. Upon tasting the divine food, Apollo broke free of the bands fastened onto him and declared that he would be the master of lyre and archery, and interpret the will of Zeus to humankind. Zeus, who had calmed Hera by then, came and adorned his son with a golden headband. Apollo's birth fixed the floating Delos to the earth. Leto promised that her son would be always favorable towards the Delians. According to some, Apollo secured Delos to the bottom of the ocean after some time. This island became sacred to Apollo and was one of the major cult centres of the god. Apollo was born on the seventh day (, hebdomagenes) of the month Thargelion—according to Delian tradition—or of the month Bysios—according to Delphian tradition. The seventh and twentieth, the days of the new and full moon, were ever afterwards held sacred to him. Mythographers agree that Artemis was born first and subsequently assisted with the birth of Apollo or was born on the island of Ortygia then helped Leto cross the sea to Delos the next day to give birth to Apollo. Hyperborea Hyperborea, the mystical land of eternal spring, venerated Apollo above all the gods. The Hyperboreans always sang and danced in his honor and hosted Pythian games. There, a vast forest of beautiful trees was called "the garden of Apollo". Apollo spent the winter months among the Hyperboreans. His absence from the world caused coldness and this was marked as his annual death. No prophecies were issued during this time. He returned to the world during the beginning of the spring. The Theophania festival was held in Delphi to celebrate his return. It is said that Leto came to Delos from Hyperborea accompanied by a pack of wolves. Henceforth, Hyperborea became Apollo's winter home and wolves became sacred to him. His intimate connection to wolves is evident from his epithet Lyceus, meaning wolf-like. But Apollo was also the wolf-slayer in his role as the god who protected flocks from predators. The Hyperborean worship of Apollo bears the strongest marks of Apollo being worshipped as the sun god. Shamanistic elements in Apollo's cult are often liked to his Hyperborean |
origin, and he is likewise speculated to have originated as a solar shaman. Shamans like Abaris and Aristeas were also the followers of Apollo, who hailed from Hyperborea. In myths, the tears of amber Apollo shed when his son Asclepius died became the waters of the river Eridanos, which surrounded Hyperborea. Apollo also buried in Hyperborea the arrow which he had used to kill the Cyclopes. He later gave this arrow to Abaris. Childhood and youth As a child, Apollo is said to have built a foundation and an altar on Delos using the horns of the goats that his sister Artemis hunted. Since he learnt the art of building when young, he later came to be known as Archegetes, the founder (of towns) and god who guided men to build new cities. From his father Zeus, Apollo had also received a golden chariot drawn by swans. In his early years when Apollo spent his time herding cows, he was reared by Thriae, the bee nymphs, who trained him and enhanced his prophetic skills. Apollo is also said to have invented the lyre, and along with Artemis, the art of archery. He then taught to the humans the art of healing and archery. Phoebe, his grandmother, gave the oracular shrine of Delphi to Apollo as a birthday gift. Themis inspired him to be the oracular voice of Delphi thereon. Python Python, a chthonic serpent-dragon, was a child of Gaia and the guardian of the Delphic Oracle, whose death was foretold by Apollo when he was still in Leto's womb. Python was the nurse of the giant Typhon. In most of the traditions, Apollo was still a child when he killed Python. Python was sent by Hera to hunt the pregnant Leto to death, and had assaulted her. To avenge the trouble given to his mother, Apollo went in search of Python and killed it in the sacred cave at Delphi with the bow and arrows that he had received from Hephaestus. The Delphian nymphs who were present encouraged Apollo during the battle with the cry "Hie Paean". After Apollo was victorious, they also brought him gifts and gave the Corycian cave to him. According to Homer, Apollo had encountered and killed the Python when he was looking for a place to establish his shrine. According to another version, when Leto was in Delphi, Python had attacked her. Apollo defended his |
mother and killed Python. Euripides in his Iphigenia in Aulis gives an account of his fight with Python and the event's aftermath. A detailed account of Apollo's conflict with Gaia and Zeus' intervention on behalf of his young son is also given. Apollo also demanded that all other methods of divination be made inferior to his, a wish that Zeus granted him readily. Because of this, Athena, who had been practicing divination by throwing pebbles, cast her pebbles away in displeasure. However, Apollo had committed a blood murder and had to be purified. Because Python was a child of Gaia, Gaia wanted Apollo to be banished to Tartarus as a punishment. Zeus didn't agree and instead exiled his son from Olympus, and instructed him to get purified. Apollo had to serve as a slave for nine years. After the servitude was over, as per his father's order, he travelled to the Vale of Tempe to bath in waters of Peneus. There Zeus himself performed purificatory rites on Apollo. Purified, Apollo was escorted by his half sister Athena to Delphi where the oracular shrine was finally handed over to him by Gaia. According to a variation, Apollo had also travelled to Crete, where Carmanor purified him. Apollo later established the Pythian games to appropriate Gaia. Henceforth, Apollo became the god who cleansed himself from the sin of murder and, made men aware of their guilt and purified them. Soon after, Zeus instructed Apollo to go to Delphi and establish his law. But Apollo, disobeying his father, went to the land of Hyperborea and stayed there for a year. He returned only after the Delphians sang hymns to him and pleaded him to come back. Zeus, pleased with his son's integrity, gave Apollo the seat next to him on his right side. He also gave to Apollo various gifts, like a golden tripod, a golden bow and arrows, a golden chariot and the city of Delphi. Soon after his return, Apollo needed to recruit people to Delphi. So, when he spotted a ship sailing from Crete, he sprang aboard in the form of a dolphin. The crew was awed into submission and followed a course that led the ship to Delphi. There Apollo revealed himself as a god. Initiating them to his service, he instructed them to keep righteousness in their hearts. The Pythia was Apollo's high priestess and his mouthpiece through |
whom he gave prophecies. Pythia is arguably the constant favorite of Apollo among the mortals. Tityos Hera once again sent another giant, Tityos to rape Leto. This time Apollo shot him with his arrows and attacked him with his golden sword. According to other version, Artemis also aided him in protecting their mother by attacking Tityos with her arrows. After the battle Zeus finally relented his aid and hurled Tityos down to Tartarus. There, he was pegged to the rock floor, covering an area of , where a pair of vultures feasted daily on his liver. Admetus Admetus was the king of Pherae, who was known for his hospitality. When Apollo was exiled from Olympus for killing Python, he served as a herdsman under Admetus, who was then young and unmarried. Apollo is said to have shared a romantic relationship with Admetus during his stay. After completing his years of servitude, Apollo went back to Olympus as a god. Because Admetus had treated Apollo well, the god conferred great benefits on him in return. Apollo's mere presence is said to have made the cattle give birth to twins. Apollo helped Admetus win the hand of Alcestis, the daughter of King Pelias, by taming a lion and a boar to draw Admetus' chariot. He was present during their wedding to give his blessings. When Admetus angered the goddess Artemis by forgetting to give her the due offerings, Apollo came to the rescue and calmed his sister. When Apollo learnt of Admetus' untimely death, he convinced or tricked the Fates into letting Admetus live past his time. According to another version, or perhaps some years later, when Zeus struck down Apollo's son Asclepius with a lightning bolt for resurrecting the dead, Apollo in revenge killed the Cyclopes, who had fashioned the bolt for Zeus. Apollo would have been banished to Tartarus for this, but his mother Leto intervened, and reminding Zeus of their old love, pleaded him not to kill their son. Zeus obliged and sentenced Apollo to one year of hard labor once again under Admetus. The love between Apollo and Admetus was a favored topic of Roman poets like Ovid and Servius. Niobe The fate of Niobe was prophesied by Apollo while he was still in Leto's womb. Niobe was the queen of Thebes and wife of Amphion. She displayed hubris when she boasted that she was superior to Leto |
because she had fourteen children (Niobids), seven male and seven female, while Leto had only two. She further mocked Apollo's effeminate appearance and Artemis' manly appearance. Leto, insulted by this, told her children to punish Niobe. Accordingly, Apollo killed Niobe's sons, and Artemis her daughters. According to some versions of the myth, among the Niobids, Chloris and her brother Amyclas were not killed because they prayed to Leto. Amphion, at the sight of his dead sons, either killed himself or was killed by Apollo after swearing revenge. A devastated Niobe fled to Mount Sipylos in Asia Minor and turned into stone as she wept. Her tears formed the river Achelous. Zeus had turned all the people of Thebes to stone and so no one buried the Niobids until the ninth day after their death, when the gods themselves entombed them. When Chloris married and had children, Apollo granted her son Nestor the years he had taken away from the Niobids. Hence, Nestor was able to live for 3 generations. Building the walls of Troy Once Apollo and Poseidon served under the Trojan king Laomedon in accordance to Zeus' words. Apollodorus states that the gods willingly went to the king disguised as humans in order to check his hubris. Apollo guarded the cattle of Laomedon in the valleys of mount Ida, while Poseidon built the walls of Troy. Other versions make both Apollo and Poseidon the builders of the wall. In Ovid's account, Apollo completes his task by playing his tunes on his lyre. In Pindar's odes, the gods took a mortal named Aeacus as their assistant. When the work was completed, three snakes rushed against the wall, and though the two that attacked the sections of the wall built by the gods fell down dead, the third forced its way into the city through the portion of the wall built by Aeacus. Apollo immediately prophesied that Troy would fall at the hands of Aeacus's descendants, the Aeacidae (i.e. his son Telamon joined Heracles when he sieged the city during Laomedon's rule. Later, his great-grandson Neoptolemus was present in the wooden horse that lead to the downfall of Troy). However, the king not only refused to give the gods the wages he had promised, but also threatened to bind their feet and hands, and sell them as slaves. Angered by the unpaid labour and the insults, Apollo infected the city with |
a pestilence and Posedion sent the sea monster Cetus. To deliver the city from it, Laomedon had to sacrifice his daughter Hesione (who would later be saved by Heracles). During his stay in Troy, Apollo had a lover named Ourea, who was a nymph and daughter of Poseidon. Together they had a son named Ileus, whom Apollo loved dearly. Trojan War Apollo sided with the Trojans during the Trojan War waged by the Greeks against the Trojans. During the war, the Greek king Agamemnon captured Chryseis, the daughter of Apollo's priest Chryses, and refused to return her. Angered by this, Apollo shot arrows infected with the plague into the Greek encampment. He demanded that they return the girl, and the Achaeans (Greeks) complied, indirectly causing the anger of Achilles, which is the theme of the Iliad. Receiving the aegis from Zeus, Apollo entered the battlefield as per his father's command, causing great terror to the enemy with his war cry. He pushed the Greeks back and destroyed many of the soldiers. He is described as "the rouser of armies" because he rallied the Trojan army when they were falling apart. When Zeus allowed the other gods to get involved in the war, Apollo was provoked by Poseidon to a duel. However, Apollo declined to fight him, saying that he wouldn't fight his uncle for the sake of mortals. When the Greek hero Diomedes injured the Trojan hero Aeneas, Aphrodite tried to rescue him, but Diomedes injured her as well. Apollo then enveloped Aeneas in a cloud to protect him. He repelled the attacks Diomedes made on him and gave the hero a stern warning to abstain himself from attacking a god. Aeneas was then taken to Pergamos, a sacred spot in Troy, where he was healed. After the death of Sarpedon, a son of Zeus, Apollo rescued the corpse from the battlefield as per his father's wish and cleaned it. He then gave it to Sleep (Hypnos) and Death (Thanatos). Apollo had also once convinced Athena to stop the war for that day, so that the warriors can relieve themselves for a while. The Trojan hero Hector (who, according to some, was the god's own son by Hecuba) was favored by Apollo. When he got severely injured, Apollo healed him and encouraged him to take up his arms. During a duel with Achilles, when Hector was about to lose, Apollo |
hid Hector in a cloud of mist to save him. When the Greek warrior Patroclus tried to get into the fort of Troy, he was stopped by Apollo. Encouraging Hector to attack Patroclus, Apollo stripped the armour of the Greek warrior and broke his weapons. Patroclus was eventually killed by Hector. At last, after Hector's fated death, Apollo protected his corpse from Achilles' attempt to mutilate it by creating a magical cloud over the corpse, shielding it from the rays of the sun. Apollo held a grudge against Achilles throughout the war because Achilles had murdered his son Tenes before the war began and brutally assassinated his son Troilus in his own temple. Not only did Apollo save Hector from Achilles, he also tricked Achilles by disguising himself as a Trojan warrior and driving him away from the gates. He foiled Achilles' attempt to mutilate Hector's dead body. Finally, Apollo caused Achilles' death by guiding an arrow shot by Paris into Achilles' heel. In some versions, Apollo himself killed Achilles by taking the disguise of Paris. Apollo helped many Trojan warriors, including Agenor, Polydamas, Glaucus in the battlefield. Though he greatly favored the Trojans, Apollo was bound to follow the orders of Zeus and served his father loyally during the war. Heracles After Heracles (then named Alcides) was struck with madness and killed his family, he sought to purify himself and consulted the oracle of Apollo. Apollo, through the Pythia, commanded him to serve king Eurystheus for twelve years and complete the ten tasks the king would give him. Only then would Alcides be absolved of his sin. Apollo also renamed him as Heracles. To complete his third task, Heracles had to capture the Ceryneian Hind, a hind sacred to Artemis, and bring back it alive. After chasing the hind for one year, the animal eventually got tired, and when it tried crossing the river Ladon, Heracles captured it. While he was taking it back, he was confronted by Apollo and Artemis, who were angered at Heracles for this act. However, Heracles soothed the goddess and explained his situation to her. After much pleading, Artemis permitted him to take the hind and told him to return it later. After he was freed from his servitude to Eurystheus, Heracles fell in conflict with Iphytus, a prince of Oechalia, and murdered him. Soon after, he contracted a terrible disease. He consulted the |
oracle of Apollo once again, in hope of ridding himself of the disease. The Pythia, however, denied to give any prophesy. In anger, Heracles snatched the sacred tripod and started walking away, intending to start his own oracle. However, Apollo did not tolerate this and stopped Heracles; a duel ensued between them. Artemis rushed to support Apollo, while Athena supported Heracles. Soon, Zeus threw his thunderbolt between the fighting brothers and separated them. He reprimanded Heracles for this act of violation and asked Apollo to give a solution to Heracles. Apollo then ordered the hero to serve under Omphale, queen of Lydia for one year in order to purify himself. Periphas Periphas was an Attican king and a priest of Apollo. He was noble, just and rich. He did all his duties justly. Because of this people were very fond of him and started honouring him to the same extent as Zeus. At one point, they worshipped Periphas in place of Zeus and set up shrines and temples for him. This annoyed Zeus, who decided to annihilate the entire family of Periphas. But because he was a just king and a good devotee, Apollo intervened and requested his father to spare Periphas. Zeus considered Apollo's words and agreed to let him live. But he metamorphosed Periphas into an eagle and made the eagle the king of birds. When Periphas' wife requested Zeus to let her stay with her husband, Zeus turned her into a vulture and fulfilled her wish. Plato's concept of soulmates A long time ago, there were three kinds of human beings: male, descended from the sun; female, descended from the earth; and androgynous, descended from the moon. Each human being was completely round, with four arms and fours legs, two identical faces on opposite sides of a head with four ears, and all else to match. They were powerful and unruly. Otis and Ephialtes even dared to scale Mount Olympus. To check their insolence, Zeus devised a plan to humble them and improve their manners instead of completely destroying them. He cut them all in two and asked Apollo to make necessary repairs, giving humans the individual shape they still have now. Apollo turned their heads and necks around towards their wounds, he pulled together their skin at the abdomen, and sewed the skin together at the middle of it. This is what we call navel today. |
He smoothened the wrinkles and shaped the chest. But he made sure to leave a few wrinkles on the abdomen and around the navel so that they might be reminded of their punishment. Nurturer of the young Apollo Kourotrophos is the god who nurtures and protects children and the young, especially boys. He oversees their education and their passage into adulthood. Education is said to have originated from Apollo and the Muses. Many myths have him train his children. It was a custom for boys to cut and dedicate their long hair to Apollo after reaching adulthood. Chiron, the abandoned centaur, was fostered by Apollo, who instructed him in medicine, prophecy, archery and more. Chiron would later become a great teacher himself. Asclepius in his childhood gained much knowledge pertaining to medicinal arts by his father. However, he was later entrusted to Chiron for further education. Anius, Apollo's son by Rhoeo, was abandoned by his mother soon after his birth. Apollo brought him up and educated him in mantic arts. Anius later became the priest of Apollo and the king of Delos. Iamus was the son of Apollo and Evadne. When Evadne went into labour, Apollo sent the Moirai to assist his lover. After the child was born, Apollo sent snakes to feed the child some honey. When Iamus reached the age of education, Apollo took him to Olympia and taught him many arts, including the ability to understand and explain the languages of birds. Idmon was educated by Apollo to be a seer. Even though he foresaw his death that would happen in his journey with the Argonauts, he embraced his destiny and died a brave death. To commemorate his son's bravery, Apollo commanded Boeotians to build a town around the tomb of the hero, and to honor him. Apollo adopted Carnus, the abandoned son of Zeus and Europa. He reared the child with the help of his mother Leto and educated him to be a seer. When his son Melaneus reached the age of marriage, Apollo asked the princess Stratonice to be his son's bride and carried her away from her home when she agreed. Apollo saved a shepherd boy (name unknown) from death in a large deep cave, by the means of vultures. To thank him, the shepherd built Apollo a temple under the name Vulturius. God of music Immediately after his birth, Apollo demanded a lyre |
and invented the paean, thus becoming the god of music. As the divine singer, he is the patron of poets, singers and musicians. The invention of string music is attributed to him. Plato said that the innate ability of humans to take delight in music, rhythm and harmony is the gift of Apollo and the Muses. According to Socrates, ancient Greeks believed that Apollo is the god who directs the harmony and makes all things move together, both for the gods and the humans. For this reason, he was called Homopolon before the Homo was replaced by A. Apollo's harmonious music delivered people from their pain, and hence, like Dionysus, he is also called the liberator. The swans, which were considered to be the most musical among the birds, were believed to be the "singers of Apollo". They are Apollo's sacred birds and acted as his vehicle during his travel to Hyperborea. Aelian says that when the singers would sing hymns to Apollo, the swans would join the chant in unison. Among the Pythagoreans, the study of mathematics and music were connected to the worship of Apollo, their principal deity. Their belief was that the music purifies the soul, just as medicine purifies the body. They also believed that music was delegated to the same mathematical laws of harmony as the mechanics of the cosmos, evolving into an idea known as the music of the spheres. Apollo appears as the companion of the Muses, and as Musagetes ("leader of Muses") he leads them in dance. They spend their time on Parnassus, which is one of their sacred places. Apollo is also the lover of the Muses and by them he became the father of famous musicians like Orpheus and Linus. Apollo is often found delighting the immortal gods with his songs and music on the lyre. In his role as the god of banquets, he was always present to play music in weddings of the gods, like the marriage of Eros and Psyche, Peleus and Thetis. He is a frequent guest of the Bacchanalia, and many ancient ceramics depict him being at ease amidst the maenads and satyrs. Apollo also participated in musical contests when challenged by others. He was the victor in all those contests, but he tended to punish his opponents severely for their hubris. Apollo's lyre The invention of lyre is attributed either to Hermes or to |
Apollo himself. Distinctions have been made that Hermes invented lyre made of tortoise shell, whereas the lyre Apollo invented was a regular lyre. Myths tell that the infant Hermes stole a number of Apollo's cows and took them to a cave in the woods near Pylos, covering their tracks. In the cave, he found a tortoise and killed it, then removed the insides. He used one of the cow's intestines and the tortoise shell and made his lyre. Upon discovering the theft, Apollo confronted Hermes and asked him to return his cattle. When Hermes acted innocent, Apollo took the matter to Zeus. Zeus, having seen the events, sided with Apollo, and ordered Hermes to return the cattle. Hermes then began to play music on the lyre he had invented. Apollo fell in love with the instrument and offered to exchange the cattle for the lyre. Hence, Apollo then became the master of the lyre. According to other versions, Apollo had invented the lyre himself, whose strings he tore in repenting of the excess punishment he had given to Marsyas. Hermes' lyre, therefore, would be a reinvention. Contest with Pan Once Pan had the audacity to compare his music with that of Apollo and to challenge the god of music to a contest. The mountain-god Tmolus was chosen to umpire. Pan blew on his pipes, and with his rustic melody gave great satisfaction to himself and his faithful follower, Midas, who happened to be present. Then, Apollo struck the strings of his lyre. It was so beautiful that Tmolus at once awarded the victory to Apollo, and everyone was pleased with the judgement. Only Midas dissented and questioned the justice of the award. Apollo did not want to suffer such a depraved pair of ears any longer, and caused them to become the ears of a donkey. Contest with Marsyas Marsyas was a satyr who was punished by Apollo for his hubris. He had found an aulos on the ground, tossed away after being invented by Athena because it made her cheeks puffy. Athena had also placed a curse upon the instrument, that whoever would pick it up would be severely punished. When Marsyas played the flute, everyone became frenzied with joy. This led Marsyas to think that he was better than Apollo, and he challenged the god to a musical contest. The contest was judged by the Muses, or the |
nymphs of Nysa. Athena was also present to witness the contest. Marsyas taunted Apollo for "wearing his hair long, for having a fair face and smooth body, for his skill in so many arts". He also further said, The Muses and Athena sniggered at this comment. The contestants agreed to take turns displaying their skills and the rule was that the victor could "do whatever he wanted" to the loser. According to one account, after the first round, they both were deemed equal by the Nysiads. But in the next round, Apollo decided to play on his lyre and add his melodious voice to his performance. Marsyas argued against this, saying that Apollo would have an advantage and accused Apollo of cheating. But Apollo replied that since Marsyas played the flute, which needed air blown from the throat, it was similar to singing, and that either they both should get an equal chance to combine their skills or none of them should use their mouths at all. The nymphs decided that Apollo's argument was just. Apollo then played his lyre and sang at the same time, mesmerising the audience. Marsyas could not do this. Apollo was declared the winner and, angered with Marsyas' haughtiness and his accusations, decided to flay the satyr. According to another account, Marsyas played his flute out of tune at one point and accepted his defeat. Out of shame, he assigned to himself the punishment of being skinned for a wine sack. Another variation is that Apollo played his instrument upside down. Marsyas could not do this with his instrument. So the Muses who were the judges declared Apollo the winner. Apollo hung Marsyas from a tree to flay him. Apollo flayed the limbs of Marsyas alive in a cave near Celaenae in Phrygia for his hubris to challenge a god. He then gave the rest of his body for proper burial and nailed Marsyas' flayed skin to a nearby pine-tree as a lesson to the others. Marsyas' blood turned into the river Marsyas. But Apollo soon repented and being distressed at what he had done, he tore the strings of his lyre and threw it away. The lyre was later discovered by the Muses and Apollo's sons Linus and Orpheus. The Muses fixed the middle string, Linus the string struck with the forefinger, and Orpheus the lowest string and the one next to it. They |
took it back to Apollo, but the god, who had decided to stay away from music for a while, laid away both the lyre and the pipes at Delphi and joined Cybele in her wanderings to as far as Hyperborea. Contest with Cinyras Cinyras was a ruler of Cyprus, who was a friend of Agamemnon. Cinyras promised to assist Agamemnon in the Trojan war, but did not keep his promise. Agamemnon cursed Cinyras. He invoked Apollo and asked the god to avenge the broken promise. Apollo then had a lyre-playing contest with Cinyras, and defeated him. Either Cinyras committed suicide when he lost, or was killed by Apollo. Patron of sailors Apollo functions as the patron and protector of sailors, one of the duties he shares with Poseidon. In the myths, he is seen helping heroes who pray to him for safe journey. When Apollo spotted a ship of Cretan sailors that was caught in a storm, he quickly assumed the shape of a dolphin and guided their ship safely to Delphi. When the Argonauts faced a terrible storm, Jason prayed to his patron, Apollo, to help them. Apollo used his bow and golden arrow to shed light upon an island, where the Argonauts soon took shelter. This island was renamed "Anaphe", which means "He revealed it". Apollo helped the Greek hero Diomedes, to escape from a great tempest during his journey homeward. As a token of gratitude, Diomedes built a temple in honor of Apollo under the epithet Epibaterius ("the embarker"). During the Trojan War, Odysseus came to the Trojan camp to return Chriseis, the daughter of Apollo's priest Chryses, and brought many offerings to Apollo. Pleased with this, Apollo sent gentle breezes that helped Odysseus return safely to the Greek camp. Arion was a poet who was kidnapped by some sailors for the rich prizes he possessed. Arion requested them to let him sing for the last time, to which the sailors consented. Arion began singing a song in praise of Apollo, seeking the god's help. Consequently, numerous dolphins surrounded the ship and when Arion jumped into the water, the dolphins carried him away safely. Wars Titanomachy Once Hera, out of spite, aroused the Titans to war against Zeus and take away his throne. Accordingly, when the Titans tried to climb Mount Olympus, Zeus with the help of Apollo, Artemis and Athena, defeated them and cast them into |
tartarus. Trojan War Apollo played a pivotal role in the entire Trojan War. He sided with the Trojans, and sent a terrible plague to the Greek camp, which indirectly led to the conflict between Achilles and Agamemnon. He killed the Greek heroes Patroclus, Achilles, and numerous Greek soldiers. He also helped many Trojan heroes, the most important one being Hector. After the end of the war, Apollo and Poseidon together cleaned the remains of the city and the camps. Telegony war A war broke out between the Brygoi and the Thesprotians, who had the support of Odysseus. The gods Athena and Ares came to the battlefield and took sides. Athena helped the hero Odysseus while Ares fought alongside of the Brygoi. When Odysseus lost, Athena and Ares came into a direct duel. To stop the battling gods and the terror created by their battle, Apollo intervened and stopped the duel between them. Indian war When Zeus suggested that Dionysus defeat the Indians in order to earn a place among the gods, Dionysus declared war against the Indians and travelled to India along with his army of Bacchantes and satyrs. Among the warriors was Aristaeus, Apollo's son. Apollo armed his son with his own hands and gave him a bow and arrows and fitted a strong shield to his arm. After Zeus urged Apollo to join the war, he went to the battlefield. Seeing several of his nymphs and Aristaeus drowning in a river, he took them to safety and healed them. He taught Aristaeus more useful healing arts and sent him back to help the army of Dionysus. Theban war During the war between the sons of Oedipus, Apollo favored Amphiaraus, a seer and one of the leaders in the war. Though saddened that the seer was fated to be doomed in the war, Apollo made Amphiaraus' last hours glorious by "lighting his shield and his helm with starry gleam". When Hypseus tried to kill the hero by a spear, Apollo directed the spear towards the charioteer of Amphiaraus instead. Then Apollo himself replaced the charioteer and took the reins in his hands. He deflected many spears and arrows away them. He also killed many of the enemy warriors like Melaneus, Antiphus, Aetion, Polites and Lampus. At last when the moment of departure came, Apollo expressed his grief with tears in his eyes and bid farewell to Amphiaraus, who was |
soon engulfed by the Earth. Slaying of giants Apollo killed the giants Python and Tityos, who had assaulted his mother Leto. Gigantomachy During the gigantomachy, Apollo and Heracles blinded the giant Ephialtes by shooting him in his eyes, Apollo shooting his left and Heracles his right. He also killed Porphyrion, the king of giants, using his bow and arrows. Aloadae The Aloadae, namely Otis and Ephialtes, were twin giants who decided to wage war upon the gods. They attempted to storm Mt. Olympus by piling up mountains, and threatened to fill the sea with mountains and inundate dry land. They even dared to seek the hand of Hera and Artemis in marriage. Angered by this, Apollo killed them by shooting them with arrows. According to another tale, Apollo killed them by sending a deer between them; as they tried to kill it with their javelins, they accidentally stabbed each other and died. Phorbas Phorbas was a savage giant king of Phlegyas who was described as having swine like features. He wished to plunder Delphi for its wealth. He seized the roads to Delphi and started harassing the pilgrims. He captured the old people and children and sent them to his army to hold them for ransom. And he challenged the young and sturdy men to a match of boxing, only to cut their heads off when they would get defeated by him. He hung the chopped off heads to an oak tree. Finally, Apollo came to put an end to this cruelty. He entered a boxing contest with Phorbas and killed him with a single blow. Other stories In the first Olympic games, Apollo defeated Ares and became the victor in wrestling. He outran Hermes in the race and won first place. Apollo divides months into summer and winter. He rides on the back of a swan to the land of the Hyperboreans during the winter months, and the absence of warmth in winters is due to his departure. During his absence, Delphi was under the care of Dionysus, and no prophecies were given during winters. Molpadia and Parthenos Molpadia and Parthenos were the sisters of Rhoeo, a former lover of Apollo. One day, they were put in charge of watching their father's ancestral wine jar but they fell asleep while performing this duty. While they were asleep, the wine jar was broken by the swines their family kept. When |
the sisters woke up and saw what had happened, they threw themselves off a cliff in fear of their father's wrath. Apollo, who was passing by, caught them and carried them to two different cities in Chersonesus, Molpadia to Castabus and Parthenos to Bubastus. He turned them into goddesses and they both received divine honors. Molpadia's name was changed to Hemithea upon her deification. Prometheus Prometheus was the titan who was punished by Zeus for stealing fire. He was bound to a rock, where each day an eagle was sent to eat Prometheus' liver, which would then grow back overnight to be eaten again the next day. Seeing his plight, Apollo pleaded Zeus to release the kind Titan, while Artemis and Leto stood behind him with tears in their eyes. Zeus, moved by Apollo's words and the tears of the goddesses, finally sent Heracles to free Prometheus. The rock of Leukas Leukatas was believed to be a white colored rock jutting out from the island of Leukas into the sea. It was present in the sanctuary of Apollo Leukates. A leap from this rock was believed to have put an end to the longings of love. Once, Aphrodite fell deeply in love with Adonis, a young man of great beauty who was later accidentally killed by a boar. Heartbroken, Aphrodite wandered looking for the rock of Leukas. When she reached the sanctuary of Apollo in Argos, she confided in him her love and sorrow. Apollo then brought her to the rock of Leukas and asked her to throw herself from the top of the rock. She did so and was freed from her love. When she sought for the reason behind this, Apollo told her that Zeus, before taking another lover, would sit on this rock to free himself from his love to Hera. Another tale relates that a man named Nireus, who fell in love with the cult statue of Athena, came to the rock and jumped in order relieve himself. After jumping, he fell into the net of a fisherman in which, when he was pulled out, he found a box filled with gold. He fought with the fisherman and took the gold, but Apollo appeared to him in the night in a dream and warned him not to appropriate gold which belonged to others. It was an ancestral custom among the Leukadians to fling a criminal from |
this rock every year at the sacrifice performed in honor of Apollo for the sake of averting evil. However, a number of men would be stationed all around below rock to catch the criminal and take him out of the borders in order to exile him from the island. This was the same rock from which, according to a legend, Sappho took her suicidal leap. Female lovers Love affairs ascribed to Apollo are a late development in Greek mythology. Their vivid anecdotal qualities have made some of them favorites of painters since the Renaissance, the result being that they stand out more prominently in the modern imagination. Daphne was a nymph who scorned Apollo's advances and ran away from him. When Apollo chased her in order to persuade her, she changed herself into a laurel tree. According to other versions, she cried for help during the chase, and Gaia helped her by taking her in and placing a laurel tree in her place. According to Roman poet Ovid, the chase was brought about by Cupid, who hit Apollo with golden arrow of love and Daphne with leaden arrow of hatred. The myth explains the origin of the laurel and connection of Apollo with the laurel and its leaves, which his priestess employed at Delphi. The leaves became the symbol of victory and laurel wreaths were given to the victors of the Pythian games. Apollo is said to have been the lover of all nine Muses, and not being able to choose one of them, decided to remain unwed. He fathered the Corybantes by the Muse Thalia, Orpheus by Calliope, Linus of Thrace by Calliope or Urania and Hymenaios (Hymen) by one of the Muses. In the Great Eoiae that is attributed to Hesoid, Scylla is the daughter of Apollo and Hecate. Cyrene was a Thessalian princess whom Apollo loved. In her honor, he built the city Cyrene and made her its ruler. She was later granted longevity by Apollo who turned her into a nymph. The couple had two sons, Aristaeus, and Idmon. Evadne was a nymph daughter of Poseidon and a lover of Apollo. She bore him a son, Iamos. During the time of the childbirth, Apollo sent Eileithyia, the goddess of childbirth to assist her. Rhoeo, a princess of the island of Naxos was loved by Apollo. Out of affection for her, Apollo turned her sisters into goddesses. |
On the island Delos she bore Apollo a son named Anius. Not wanting to have the child, she entrusted the infant to Apollo and left. Apollo raised and educated the child on his own. Ourea, a daughter of Poseidon, fell in love with Apollo when he and Poseidon were serving the Trojan king Laomedon. They both united on the day the walls of Troy were built. She bore to Apollo a son, whom Apollo named Ileus, after the city of his birth, Ilion (Troy). Ileus was very dear to Apollo. Thero, daughter of Phylas, a maiden as beautiful as the moonbeams, was loved by the radiant Apollo, and she loved him in return. By their union, she became mother of Chaeron, who was famed as "the tamer of horses". He later built the city Chaeronea. Hyrie or Thyrie was the mother of Cycnus. Apollo turned both the mother and son into swans when they jumped into a lake and tried to kill themselves. Hecuba was the wife of King Priam of Troy, and Apollo had a son with her named Troilus. An oracle prophesied that Troy would not be defeated as long as Troilus reached the age of twenty alive. He was ambushed and killed by Achilleus, and Apollo avenged his death by killing Achilles. After the sack of Troy, Hecuba was taken to Lycia by Apollo. Coronis was daughter of Phlegyas, King of the Lapiths. While pregnant with Asclepius, Coronis fell in love with Ischys, son of Elatus and slept with him. When Apollo found out about her infidelity through his prophetic powers or thanks to his raven who informed him, he sent his sister, Artemis, to kill Coronis. Apollo rescued the baby by cutting open Koronis' belly and gave it to the centaur Chiron to raise. Dryope, the daughter of Dryops, was impregnated by Apollo in the form of a snake. She gave birth to a son named Amphissus. In Euripides' play Ion, Apollo fathered Ion by Creusa, wife of Xuthus. He used his powers to conceal her pregnancy from her father. Later, when Creusa left Ion to die in the wild, Apollo asked Hermes to save the child and bring him to the oracle at Delphi, where he was raised by a priestess. Apollo loved and kidnapped an Oceanid nymph, Melia. Her father Oceanus sent one of his sons, Caanthus, to find her, but Caanthus could not |
take her back from Apollo, so he burned Apollo's sanctuary. In retaliation, Apollo shot and killed Caanthus. Male lovers Hyacinth (or Hyacinthus), a beautiful and athletic Spartan prince, was one of Apollo's favourite lovers. The pair was practicing throwing the discus when a discus thrown by Apollo was blown off course by the jealous Zephyrus and struck Hyacinthus in the head, killing him instantly. Apollo is said to be filled with grief. Out of Hyacinthus' blood, Apollo created a flower named after him as a memorial to his death, and his tears stained the flower petals with the interjection , meaning alas. He was later resurrected and taken to heaven. The festival Hyacinthia was a national celebration of Sparta, which commemorated the death and rebirth of Hyacinthus. Another male lover was Cyparissus, a descendant of Heracles. Apollo gave him a tame deer as a companion but Cyparissus accidentally killed it with a javelin as it lay asleep in the undergrowth. Cyparissus was so saddened by its death that he asked Apollo to let his tears fall forever. Apollo granted the request by turning him into the Cypress named after him, which was said to be a sad tree because the sap forms droplets like tears on the trunk. Admetus, the king of Pherae, was also Apollo's lover. During his exile, which lasted either for one year or nine years, Apollo served Admetus as a herdsman. The romantic nature of their relationship was first described by Callimachus of Alexandria, who wrote that Apollo was "fired with love" for Admetus. Plutarch lists Admetus as one of Apollo's lovers and says that Apollo served Admetus because he doted upon him. Latin poet Ovid in his Ars Amatoria said that even though he was a god, Apollo forsook his pride and stayed in as a servant for the sake of Admetus. Tibullus describes Apollo's love to the king as servitium amoris (slavery of love) and asserts that Apollo became his servant not by force but by choice. He would also make cheese and serve it to Admetus. His domestic actions caused embarrassment to his family. When Admetus wanted to marry princess Alcestis, Apollo provided a chariot pulled by a lion and a boar he had tamed. This satisfied Alcestis' father and he let Admetus marry his daughter. Further, Apollo saved the king from Artemis' wrath and also convinced the Moirai to postpone Admetus' death |
once. Branchus, a shepherd, one day came across Apollo in the woods. Captivated by the god's beauty, he kissed Apollo. Apollo requited his affections and wanting to reward him, bestowed prophetic skills on him. His descendants, the Branchides, were an influential clan of prophets. Other male lovers of Apollo include: Adonis, who is said to have been the lover of both Apollo and Aphrodite. He behaved as a man with Aphrodite and as a woman with Apollo. Atymnius, otherwise known as a beloved of Sarpedon Boreas, the god of North winds Cinyras, king of Cyprus and the priest of Aphrodite Helenus, a Trojan prince (son of Priam and Hecuba). He received from Apollo an ivory bow with which he later wounded Achilles in the hand. Hippolytus of Sicyon (not the same as Hippolytus, the son of Theseus) Hymenaios, the son of Magnes Iapis, to whom Apollo taught the art of healing Phorbas, the dragon slayer (probably the son of Triopas) Children Apollo sired many children, from mortal women and nymphs as well as the goddesses. His children grew up to be physicians, musicians, poets, seers or archers. Many of his sons founded new cities and became kings. They were all usually very beautiful. Asclepius is the most famous son of Apollo. His skills as a physician surpassed that of Apollo's. Zeus killed him for bringing back the dead, but upon Apollo's request, he was resurrected as a god. Aristaeus was placed under the care of Chiron after his birth. He became the god of beekeeping, cheese making, animal husbandry and more. He was ultimately given immortality for the benefits he bestowed upon the humanity. The Corybantes were spear-clashing, dancing demigods. The sons of Apollo who participated in the Trojan War include the Trojan princes Hector and Troilus, as well as Tenes, the king of Tenedos, all three of whom were killed by Achilles over the course of the war. Apollo's children who became musicians and bards include Orpheus, Linus, Ialemus, Hymenaeus, Philammon, Eumolpus and Eleuther. Apollo fathered 3 daughters, Apollonis, Borysthenis and Cephisso, who formed a group of minor Muses, the "Musa Apollonides". They were nicknamed Nete, Mese and Hypate after the highest, middle and lowest strings of his lyre. Phemonoe was a seer and a poetess who was the inventor of Hexameter. Apis, Idmon, Iamus, Tenerus, Mopsus, Galeus, Telmessus and others were gifted seers. Anius, Pythaeus and Ismenus lived |
as high priests. Most of them were trained by Apollo himself. Arabus, Delphos, Dryops, Miletos, Tenes, Epidaurus, Ceos, Lycoras, Syrus, Pisus, Marathus, Megarus, Patarus, Acraepheus, Cicon, Chaeron and many other sons of Apollo, under the guidance of his words, founded eponymous cities. He also had a son named Chrysorrhoas who was a mechanic artist. His other daughters include Eurynome, Chariclo wife of Chiron, Eurydice the wife of Orpheus, Eriopis, famous for her beautiful hair, Melite the heroine, Pamphile the silk weaver, Parthenos, and by some accounts, Phoebe, Hilyra and Scylla. Apollo turned Parthenos into a constellation after her early death. Additionally, Apollo fostered and educated Chiron, the centaur who later became the greatest teacher and educated many demigods, including Apollo's sons. Apollo also fostered Carnus, the son of Zeus and Europa. Failed love attempts Marpessa was kidnapped by Idas but was loved by Apollo as well. Zeus made her choose between them, and she chose Idas on the grounds that Apollo, being immortal, would tire of her when she grew old. Sinope, a nymph, was approached by the amorous Apollo. She made him promise that he would grant to her whatever she would ask for, and then cleverly asked him to let her stay a virgin. Apollo kept his promise and went back. Bolina was admired by Apollo but she refused him and jumped into the sea. To avoid her death, Apollo turned her into a nymph, saving her life. Castalia was a nymph whom Apollo loved. She fled from him and dove into the spring at Delphi, at the base of Mt. Parnassos, which was then named after her. Water from this spring was sacred; it was used to clean the Delphian temples and inspire the priestesses. Cassandra, was a daughter of Hecuba and Priam. Apollo wished to court her. Cassandra promised to return his love on one condition - he should give her the power to see the future. Apollo fulfilled her wish, but she went back on her word and rejected him soon after. Angered that she broke her promise, Apollo cursed her that even though she would see the future, no one would ever believe her prophecies. The Sibyl of Cumae like Cassandra promised Apollo her love if he would give her a boon. The Sibyl took a handful of sand and asked Apollo to grant her years of life as many as the grains of |
sand she held in her hands. Apollo granted her wish, but Sibyl went back on her word. Although Sibyl did live an extended life as Apollo had promised, he did not give her agelessness along with it, so she shrivelled and shrank and only her voice remained. Hestia, the goddess of the hearth, rejected both Apollo's and Poseidon's marriage proposals and swore that she would always stay unmarried. In one version of the prophet Tiresias's origins, he was originally a woman who promised Apollo to sleep with him if he would give her music lessons. Apollo gave her her wish, but then she went back on her word and refused him. Apollo in anger turned her into a man. Female counterparts Artemis Artemis as the sister of Apollo, is thea apollousa, that is, she as a female divinity represented the same idea that Apollo did as a male divinity. In the pre-Hellenic period, their relationship was described as the one between husband and wife, and there seems to have been a tradition which actually described Artemis as the wife of Apollo. However, this relationship was never sexual but spiritual, which is why they both are seen being unmarried in the Hellenic period. Artemis, like her brother, is armed with a bow and arrows. She is the cause of sudden deaths of women. She also is the protector of the young, especially girls. Though she has nothing to do with oracles, music or poetry, she sometimes led the female chorus on Olympus while Apollo sang. The laurel (daphne) was sacred to both. Artemis Daphnaia had her temple among the Lacedemonians, at a place called Hypsoi. Apollo Daphnephoros had a temple in Eretria, a "place where the citizens are to take the oaths". In later times when Apollo was regarded as identical with the sun or Helios, Artemis was naturally regarded as Selene or the moon. Hecate Hecate, the goddess of witchcraft and magic, is the chthonic counterpart of Apollo. They both are cousins, since their mothers - Leto and Asteria - are sisters. One of Apollo's epithets, Hecatos, is the masculine form of Hecate, and both the names mean "working from afar". While Apollo presided over the prophetic powers and magic of light and heaven, Hecate presided over the prophetic powers and magic of night and chthonian darkness. If Hecate is the "gate-keeper", Apollo Agyieus is the "door-keeper". Hecate is the |
goddess of crossroads and Apollo is the god and protector of streets. The oldest evidence found for Hecate's worship is at Apollo's temple in Miletos. There, Hecate was taken to be Apollo's sister counterpart in the absence of Artemis. Hecate's lunar nature makes her the goddess of the waning moon and contrasts and complements, at the same time, Apollo's solar nature. Athena As a deity of knowledge and great power, Apollo was seen being the male counterpart of Athena. Being Zeus' favorite children, they were given more powers and duties. Apollo and Athena often took up the role as protectors of cities, and were patrons of some of the important cities. Athena was the principle goddess of Athens, Apollo was the principle god of Sparta. As patrons of arts, Apollo and Athena were companions of the Muses, the former a much more frequent companion than the latter. Apollo was sometimes called the son of Athena and Hephaestus. In the Trojan war, as Zeus' executive, Apollo is seen holding the aegis like Athena usually does. Apollo's decisions were usually approved by his sister Athena, and they both worked to establish the law and order set forth by Zeus. Apollo in the Oresteia In Aeschylus' Oresteia trilogy, Clytemnestra kills her husband, King Agamemnon because he had sacrificed their daughter Iphigenia to proceed forward with the Trojan war. Apollo gives an order through the Oracle at Delphi that Agamemnon's son, Orestes, is to kill Clytemnestra and Aegisthus, her lover. Orestes and Pylades carry out the revenge, and consequently Orestes is pursued by the Erinyes or Furies (female personifications of vengeance). Apollo and the Furies argue about whether the matricide was justified; Apollo holds that the bond of marriage is sacred and Orestes was avenging his father, whereas the Erinyes say that the bond of blood between mother and son is more meaningful than the bond of marriage. They invade his temple, and he drives them away. He says that the matter should be brought before Athena. Apollo promises to protect Orestes, as Orestes has become Apollo's supplicant. Apollo advocates Orestes at the trial, and ultimately Athena rules in favor of Apollo. Roman Apollo The Roman worship of Apollo was adopted from the Greeks. As a quintessentially Greek god, Apollo had no direct Roman equivalent, although later Roman poets often referred to him as Phoebus. There was a tradition that the Delphic oracle was |
consulted as early as the period of the kings of Rome during the reign of Tarquinius Superbus. On the occasion of a pestilence in the 430s BCE, Apollo's first temple at Rome was established in the Flaminian fields, replacing an older cult site there known as the "Apollinare". During the Second Punic War in 212 BCE, the Ludi Apollinares ("Apollonian Games") were instituted in his honor, on the instructions of a prophecy attributed to one Marcius. In the time of Augustus, who considered himself under the special protection of Apollo and was even said to be his son, his worship developed and he became one of the chief gods of Rome. After the battle of Actium, which was fought near a sanctuary of Apollo, Augustus enlarged Apollo's temple, dedicated a portion of the spoils to him, and instituted quinquennial games in his honour. He also erected a new temple to the god on the Palatine hill. Sacrifices and prayers on the Palatine to Apollo and Diana formed the culmination of the Secular Games, held in 17 BCE to celebrate the dawn of a new era. Festivals The chief Apollonian festival was the Pythian Games held every four years at Delphi and was one of the four great Panhellenic Games. Also of major importance was the Delia held every four years on Delos. Athenian annual festivals included the Boedromia, Metageitnia, Pyanepsia, and Thargelia. Spartan annual festivals were the Carneia and the Hyacinthia. Thebes every nine years held the Daphnephoria. Attributes and symbols Apollo's most common attributes were the bow and arrow. Other attributes of his included the kithara (an advanced version of the common lyre), the plectrum and the sword. Another common emblem was the sacrificial tripod, representing his prophetic powers. The Pythian Games were held in Apollo's honor every four years at Delphi. The bay laurel plant was used in expiatory sacrifices and in making the crown of victory at these games. The palm tree was also sacred to Apollo because he had been born under one in Delos. Animals sacred to Apollo included wolves, dolphins, roe deer, swans, cicadas (symbolizing music and song), ravens, hawks, crows (Apollo had hawks and crows as his messengers), snakes (referencing Apollo's function as the god of prophecy), mice and griffins, mythical eagle–lion hybrids of Eastern origin. Homer and Porphyry wrote that Apollo had a hawk as his messenger. In many myths Apollo is |
transformed into a hawk. In addition, Claudius Aelianus wrote that in Ancient Egypt people believed that hawks were sacred to the god and that according to the ministers of Apollo in Egypt there were certain men called "hawk-keepers" (ἱερακοβοσκοί) who fed and tended the hawks belonging to the god. Eusebius wrote that the second appearance of the moon is held sacred in the city of Apollo in Egypt and that the city's symbol is a man with a hawklike face (Horus). Claudius Aelianus wrote that Egyptians called Apollo Horus in their own language. As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention an Asia Minor god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology). In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase. Apollo is often associated with the Golden Mean. This is the Greek ideal of moderation and a virtue that opposes gluttony. In antiquity, Apollo was associated with the planet Mercury. The ancient Greeks believed that Mercury as observed during the morning was a different planet than the one during the evening, because each twilight Mercury would appear farther from the Sun as it set than it had the night before. The morning planet was called Apollo, and the one at evening Hermes/Mercury before they realised they were the same, thereupon the name 'Mercury/Hermes' was kept, and 'Apollo' was dropped. Apollo in the arts Apollo is a common theme in Greek and Roman |
art and also in the art of the Renaissance. The earliest Greek word for a statue is "delight" (, agalma), and the sculptors tried to create forms which would inspire such guiding vision. Greek art puts into Apollo the highest degree of power and beauty that can be imagined. The sculptors derived this from observations on human beings, but they also embodied in concrete form, issues beyond the reach of ordinary thought. The naked bodies of the statues are associated with the cult of the body that was essentially a religious activity. The muscular frames and limbs combined with slim waists indicate the Greek desire for health, and the physical capacity which was necessary in the hard Greek environment. The statues of Apollo embody beauty, balance and inspire awe before the beauty of the world. Archaic sculpture Numerous free-standing statues of male youths from Archaic Greece exist, and were once thought to be representations of Apollo, though later discoveries indicated that many represented mortals. In 1895, V. I. Leonardos proposed the term kouros ("male youth") to refer to those from Keratea; this usage was later expanded by Henri Lechat in 1904 to cover all statues of this format. The earliest examples of life-sized statues of Apollo may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. Significantly more rare are the life-sized bronze statues. One of the few originals which survived into the present day—so rare that its discovery in 1959 was described as "a miracle" by Ernst Homann-Wedeking—is the masterpiece bronze, Piraeus Apollo. It was found in Piraeus, a port city close to Athens, and is believed to have come from north-eastern Peloponnesus. It is the only surviving large-scale Peloponnesian statue. Classical sculpture The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara, a sophisticated seven-stringed variant of the lyre, in his left arm. While none of the Greek originals have survived, several Roman copies from approximately the late 1st or early 2nd century exist. Other notable forms are the Apollo Citharoedus and the Apollo Barberini. Hellenistic Greece-Rome Apollo as a handsome beardless young man, is often depicted with |
a cithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE. The life-size so-called "Adonis" found in 1780 on the site of a villa suburbana near the Via Labicana in the Roman suburb of Centocelle is identified as an Apollo by modern scholars. In the late 2nd century CE floor mosaic from El Djem, Roman Thysdrus, he is identifiable as Apollo Helios by his effulgent halo, though now even a god's divine nakedness is concealed by his cloak, a mark of increasing conventions of modesty in the later Empire. Another haloed Apollo in mosaic, from Hadrumentum, is in the museum at Sousse. The conventions of this representation, head tilted, lips slightly parted, large-eyed, curling hair cut in locks grazing the neck, were developed in the 3rd century BCE to depict Alexander the Great. Some time after this mosaic was executed, the earliest depictions of Christ would also be beardless and haloed. Modern reception Apollo often appears in modern and popular culture due to his status as the god of music, dance and poetry. Postclassical art and literature Dance and music Apollo has featured in dance and music in modern culture. Percy Bysshe Shelley composed a "Hymn of Apollo" (1820), and the god's instruction of the Muses formed the subject of Igor Stravinsky's Apollon musagète (1927–1928). In 1978, the Canadian band Rush released an album with songs "Apollo: Bringer of Wisdom"/"Dionysus: Bringer of Love". Books Apollo been portrayed in modern literature, such as when Charles Handy, in Gods of Management (1978) uses Greek gods as a metaphor to portray various types of organizational culture. Apollo represents a 'role' culture where order, reason, and bureaucracy prevail. In 2016, author Rick Riordan published the first book in the Trials of Apollo series, publishing four other books in the series in 2017, 2018, 2019 and 2020. Film Apollo has been depicted in modern films—for instance, by Keith David in the 1997 animated feature film Hercules, by Luke Evans in the 2010 action film Clash of the Titans, |
and by Dimitri Lekkos in the 2010 film Percy Jackson & the Olympians: The Lightning Thief. Video games Apollo has appeared in many modern video games. Apollo appears as a minor character in Santa Monica Studio's 2010 action-adventure game God of War III with his bow being used by Peirithous. He also appears in the 2014 Hi-Rez Studios Multiplayer Online Battle Arena game Smite as a playable character. Webcomics Apollo appears in Rachel Smythe's 2018 comic Lore Olympus as an antagonist. Psychology and philosophy In philosophical discussion of the arts, a distinction is sometimes made between the Apollonian and Dionysian impulses, where the former is concerned with imposing intellectual order and the latter with chaotic creativity. Friedrich Nietzsche argued that a fusion of the two was most desirable. Psychologist Carl Jung's Apollo archetype represents what he saw as the disposition in people to over-intellectualise and maintain emotional distance. Spaceflight In spaceflight, the 1960s and 1970s NASA program for orbiting and landing astronauts on the Moon was named after Apollo, by NASA manager Abe Silverstein: Genealogy See also Darrhon Dryad Epirus Family tree of the Greek gods Phoebus (disambiguation) Sibylline oracles Tegyra Temple of Apollo (disambiguation) Notes References Sources Primary sources Aelian, On Animals, Volume II: Books 6–11. Translated by A. F. Scholfield. Loeb Classical Library 447. Cambridge, MA: Harvard University Press, 1958. Aeschylus, The Eumenides in Aeschylus, with an English translation by Herbert Weir Smyth, Ph. D. in two volumes, Vol 2, Cambridge, Massachusetts, Harvard University Press, 1926, Online version at the Perseus Digital Library. Antoninus Liberalis, The Metamorphoses of Antoninus Liberalis translated by Francis Celoria (Routledge 1992). Online version at the Topos Text Project. Apollodorus, Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Online version at the Perseus Digital Library. Apollonius of Rhodes, Apollonius Rhodius: the Argonautica, translated by Robert Cooper Seaton, W. Heinemann, 1912. Internet Archive. Callimachus, Callimachus and Lycophron with an English Translation by A. W. Mair; Aratus, with an English Translation by G. R. Mair, London: W. Heinemann, New York: G. P. Putnam 1921. Online version at Harvard University Press. Internet Archive. Cicero, Marcus Tullius, De Natura Deorum in Cicero in Twenty-eight Volumes, XIX De Natura Deorum; Academica, with an English translation by H. Rackham, Cambridge, Massachusetts: Harvard University Press; London: William Heinemann, Ltd, 1967. Internet Archive. |
Diodorus Siculus, Library of History, Volume III: Books 4.59-8, translated by C. H. Oldfather, Loeb Classical Library No. 340. Cambridge, Massachusetts, Harvard University Press, 1939. . Online version at Harvard University Press. Online version by Bill Thayer. Herodotus, Herodotus, with an English translation by A. D. Godley. Cambridge. Harvard University Press. 1920. Online version available at The Perseus Digital Library. Hesiod, Theogony, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library. Homeric Hymn 3 to Apollo in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library. Homeric Hymn 4 to Hermes, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library. Homer, The Iliad with an English Translation by A.T. Murray, PhD in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924. Online version at the Perseus Digital Library. Homer; The Odyssey with an English Translation by A.T. Murray, PH.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1919. Online version at the Perseus Digital Library. Hyginus, Gaius Julius, De Astronomica, in The Myths of Hyginus, edited and translated by Mary A. Grant, Lawrence: University of Kansas Press, 1960. Online version at ToposText. Hyginus, Gaius Julius, Fabulae, in The Myths of Hyginus, edited and translated by Mary A. Grant, Lawrence: University of Kansas Press, 1960. Online version at ToposText. Livy, The History of Rome, Books I and II With An English Translation. Cambridge. Cambridge, Mass., Harvard University Press; London, William Heinemann, Ltd. 1919. Nonnus, Dionysiaca; translated by Rouse, W H D, I Books I-XV. Loeb Classical Library No. 344, Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1940. Internet Archive Nonnus, Dionysiaca; translated by Rouse, W H D, II Books XVI-XXXV. Loeb Classical Library No. 345, Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1940. Internet Archive Statius, Thebaid. Translated by Mozley, J H. Loeb Classical Library Volumes. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1928. Strabo, The Geography of Strabo. Edition by H.L. Jones. Cambridge, Mass.: Harvard University Press; London: William Heinemann, Ltd. 1924. |
Online version at the Perseus Digital Library. Sophocles, Oedipus Rex Palaephatus, On Unbelievable Tales 46. Hyacinthus (330 BCE) Ovid, Metamorphoses, Brookes More, Boston, Cornhill Publishing Co. 1922. Online version at the Perseus Digital Library. 10. 162–219 (1–8 CE) Pausanias, Pausanias Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. Online version at the Perseus Digital Library. Philostratus the Elder, Imagines, in Philostratus the Elder, Imagines. Philostratus the Younger, Imagines. Callistratus, Descriptions. Translated by Arthur Fairbanks. Loeb Classical Library No. 256. Cambridge, Massachusetts: Harvard University Press, 1931. . Online version at Harvard University Press. Internet Archive 1926 edition. i.24 Hyacinthus (170–245 CE) Philostratus the Younger, Imagines, in Philostratus the Elder, Imagines. Philostratus the Younger, Imagines. Callistratus, Descriptions. Translated by Arthur Fairbanks. Loeb Classical Library No. 256. Cambridge, Massachusetts: Harvard University Press, 1931. . Online version at Harvard University Press. Internet Archive 1926 edition. 14. Hyacinthus (170–245 CE) Pindar, Odes, Diane Arnson Svarlien. 1990. Online version at the Perseus Digital Library. Plutarch. Lives, Volume I: Theseus and Romulus. Lycurgus and Numa. Solon and Publicola. Translated by Bernadotte Perrin. Loeb Classical Library No. 46. Cambridge, Massachusetts: Harvard University Press, 1914. . Online version at Harvard University Press. Numa at the Perseus Digital Library. Pseudo-Plutarch, De fluviis, in Plutarch's morals, Volume V, edited and translated by William Watson Goodwin, Boston: Little, Brown & Co., 1874. Online version at the Perseus Digital Library. Lucian, Dialogues of the Dead. Dialogues of the Sea-Gods. Dialogues of the Gods. Dialogues of the Courtesans, translated by M. D. MacLeod, Loeb Classical Library No. 431, Cambridge, Massachusetts, Harvard University Press, 1961. . Online version at Harvard University Press. Internet Archive. First Vatican Mythographer, 197. Thamyris et Musae Tzetzes, John, Chiliades, editor Gottlieb Kiessling, F.C.G. Vogel, 1826. Google Books. (English translation: Book I by Ana Untila; Books II–IV, by Gary Berkowitz; Books V–VI by Konstantino Ramiotis; Books VII–VIII by Vasiliki Dogani; Books IX–X by Jonathan Alexander; Books XII–XIII by Nikolaos Giallousis. Internet Archive). Valerius Flaccus, Argonautica, translated by J. H. Mozley, Loeb Classical Library No. 286. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1928. . Online version at Harvard University Press. Online translated text available at theoi.com. Vergil, Aeneid. Theodore C. Williams. trans. Boston. Houghton Mifflin Co. 1910. Online version at the Perseus Digital Library. Secondary sources Athanassakis, Apostolos N., |
and Benjamin M. Wolkow, The Orphic Hymns, Johns Hopkins University Press; owlerirst Printing edition (May 29, 2013). . Google Books. M. Bieber, 1964. Alexander the Great in Greek and Roman Art. Chicago. Hugh Bowden, 2005. Classical Athens and the Delphic Oracle: Divination and Democracy. Cambridge University Press. Walter Burkert, 1985. Greek Religion (Harvard University Press) III.2.5 passim Fontenrose, Joseph Eddy, Python: A Study of Delphic Myth and Its Origins, University of California Press, 1959. . Gantz, Timothy, Early Greek Myth: A Guide to Literary and Artistic Sources, Johns Hopkins University Press, 1996, Two volumes: (Vol. 1), (Vol. 2). Miranda J. Green, 1997. Dictionary of Celtic Myth and Legend, Thames and Hudson. Grimal, Pierre, The Dictionary of Classical Mythology, Wiley-Blackwell, 1996. . Hard, Robin, The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology", Psychology Press, 2004, . Google Books. Karl Kerenyi, 1953. Apollon: Studien über Antiken Religion und Humanität revised edition. Kerényi, Karl 1951, The Gods of the Greeks, Thames and Hudson, London. Mertens, Dieter; Schutzenberger, Margareta. Città e monumenti dei Greci d'Occidente: dalla colonizzazione alla crisi di fine V secolo a.C.. Roma L'Erma di Bretschneider, 2006. . Martin Nilsson, 1955. Die Geschichte der Griechische Religion, vol. I. C.H. Beck. Parada, Carlos, Genealogical Guide to Greek Mythology, Jonsered, Paul Åströms Förlag, 1993. . Pauly–Wissowa, Realencyclopädie der klassischen Altertumswissenschaft: II, "Apollon". The best repertory of cult sites (Burkert). Peck, Harry Thurston, Harpers Dictionary of Classical Antiquities, New York. Harper and Brothers. 1898. Online version at the Perseus Digital Library. Pfeiff, K.A., 1943. Apollon: Wandlung seines Bildes in der griechischen Kunst. Traces the changing iconography of Apollo. D.S.Robertson (1945) A handbook of Greek and Roman Architecture Cambridge University Press Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873). "Apollo" Smith, William, A Dictionary of Greek and Roman Antiquities. William Smith, LLD. William Wayte. G. E. Marindin. Albemarle Street, London. John Murray. 1890. Online version at the Perseus Digital Library. Spivey Nigel (1997) Greek art Phaedon Press Ltd. External links Apollo at the Greek Mythology Link, by Carlos Parada The Warburg Institute Iconographic Database: ca 1650 images of Apollo Greek gods Roman gods Beauty gods Health gods Knowledge gods Light gods Maintenance deities Music and singing gods Oracular gods Solar gods Plague gods Dragonslayers Mythological Greek archers Mythological rapists Homosexuality and bisexuality deities Divine twins Deities in the Iliad Metamorphoses characters Musicians in Greek mythology LGBT |
themes in Greek mythology Children of Zeus Characters in the Odyssey Characters in the Argonautica Characters in Roman mythology Childhood gods Mythological Greek physicians Arts gods Dii Consentes Medicine deities Mercurian deities Twelve Olympians Dance gods Kourotrophoi Shapeshifters in Greek mythology Supernatural healing |
Andre Kirk Agassi ( ; born April 29, 1970) is an American former world No. 1 tennis player. He is an eight-time major champion and an Olympic gold medalist, as well as a runner-up in seven other majors. His father, Emmanuel Agassi, was an Iranian. Agassi is widely considered one of the greatest tennis players of all time. Agassi is the second of five men to achieve the career Grand Slam in the Open Era and the fifth of eight overall to make the achievement. He is also the first of two men to achieve the career Golden Slam (career Grand Slam and Olympic gold medal), as well as the only man to win a career Super Slam (career Grand Slam, plus the Olympic gold medal and the year-end championships). Agassi was the first man to win all four singles majors on three different surfaces (hard, clay and grass), and remains the most recent American man to win the French Open (in 1999) and the Australian Open (in 2003). He also won 17 Masters titles and was part of the winning Davis Cup teams in 1990, 1992 and 1995. Agassi reached the world No. 1 ranking for the first time in 1995, but was troubled by personal issues during the mid-to-late 1990s and sank to No. 141 in 1997, prompting many to believe that his career was over. Agassi returned to No. 1 in 1999 and enjoyed the most successful run of his career over the next four years. During his 20-plus year tour career, Agassi was known by the nickname "The Punisher". After suffering from sciatica caused by two bulging discs in his back, a spondylolisthesis (vertebral displacement) and a bone spur that interfered with the nerve, Agassi retired from professional tennis on September 3, 2006, after losing in the third round of the US Open. He is the founder of the Andre Agassi Charitable Foundation, which has raised over $60 million for at-risk children in Southern Nevada. In 2001, the Foundation opened the Andre Agassi College Preparatory Academy in Las Vegas, a K–12 public charter school for at-risk children. He has been married to fellow tennis player Steffi Graf since 2001. Early life Andre Agassi was born in Las Vegas, Nevada, to Emmanuel "Mike" Agassi (Aghassian), a former Olympic boxer from Iran and American Elizabeth "Betty" Agassi (née Dudley). His father is of Armenian and Assyrian heritage. Andre |
Agassi's mother, Betty, is a breast cancer survivor. He has three older siblings – Rita (last wife of former number one Pancho Gonzales), Philip and Tami. Andre was given the middle name Kirk after Kirk Kerkorian, an Armenian American billionaire. Emmanuel Agassi, then a waiter at Tropicana Las Vegas, had met Kerkorian in 1963. At the age of 12, Agassi and his good friend and doubles partner, Roddy Parks, won the 1982 National Indoor Boys 14s Doubles Championship in Chicago. Agassi describes memorable experiences and juvenile pranks with Roddy in his book Open. When he was 13, Agassi was sent to Nick Bollettieri's Tennis Academy in Florida. He was meant to stay for only three months, because that was all his father could afford. After thirty minutes of watching Agassi play, Bollettieri, deeply impressed by his talent, called Mike and said: "Take your check back. He's here for free." Agassi then dropped out of school in the ninth grade to pursue a full-time tennis career. Professional career 1986–1993: Breakthrough and the first major title Agassi turned professional at the age of 16 and competed in his first tournament at La Quinta, California. He won his first match against John Austin, but then lost his second match to Mats Wilander. By the end of 1986, Agassi was ranked No. 91. He won his first top-level singles title in 1987 at the Sul American Open in Itaparica and ended the year ranked No. 25. He won six additional tournaments in 1988 (Memphis, U.S. Men's Clay Court Championships, Forest Hills WCT, Stuttgart Outdoor, Volvo International and Livingston Open), and, by December of that year, he had surpassed US$1 million in career prize money after playing in just 43 tournaments—the fastest anyone in history had reached that level. During 1988, he also set the open-era record for most consecutive victories by a male teenager (a record that stood for 17 years until Rafael Nadal broke it in 2005). His year-end ranking was No. 3, behind second-ranked Ivan Lendl and top-ranked Mats Wilander. Both the Association of Tennis Professionals and Tennis magazine named Agassi the Most Improved Player of the Year for 1988. In addition to not playing the Australian Open (which later became his best Grand Slam event) for the first eight years of his career, Agassi chose not to play at Wimbledon from 1988 through 1990 (although he first played there in 1987, |
only to lose in the first round to Henri Leconte) and publicly stated that he did not wish to play there because of the event's traditionalism, particularly its "predominantly white" dress code to which players at the event are required to conform. Strong performances on the tour meant that Agassi was quickly tipped as a future Grand Slam champion. While still a teenager, he reached the semi-finals of both the French Open and the US Open in 1988 and made the US Open semi-finals in 1989. He began the 1990s with a series of near-misses. He reached his first Grand Slam final in 1990 at the French Open, where he was favored before losing in four sets to Andrés Gómez, which he later attributed in his book to worrying about his wig falling off during the match. He reached his second Grand Slam final of the year at the US Open, defeating defending champion Boris Becker in the semi-finals. His opponent in the final was Pete Sampras; a year earlier, Agassi had crushed Sampras, after which time he told his coach that he felt bad for Sampras because he was never going to make it as a pro. Agassi lost the US Open final to Sampras in three sets. The Agassi-Sampras rivalry became the biggest one in tennis over the rest of the decade. Agassi ended 1990 on a high note as he helped the United States win its first Davis Cup in 8 years on home soil against Australia (3-2) and won his only Tennis Masters Cup, beating reigning Wimbledon champion Stefan Edberg in the final. In 1991, Agassi reached his second consecutive French Open final, where he faced fellow Bollettieri Academy alumnus Jim Courier. Courier emerged the victor in a five-set final. The Las Vegan was a set and 3-1 up when came the rain. The rain delay proved to be a confidence builder for Courier. Agassi decided to play at Wimbledon in 1991, leading to weeks of speculation in the media about the clothes he would wear. He eventually emerged for the first round in a completely white outfit. He reached the quarterfinals on that occasion, losing in five sets to David Wheaton. Agassi's Grand Slam tournament breakthrough came at Wimbledon, not at the French Open or the US Open, where he had previously enjoyed success. In 1992, he defeated Goran Ivanišević in a five-set final. Along |
the way, Agassi overcame two former Wimbledon champions: Boris Becker and John McEnroe. No other baseliner would triumph at Wimbledon until Lleyton Hewitt ten years later. Agassi was named the BBC Overseas Sports Personality of the Year in 1992. Agassi once again played on the United States' Davis Cup winning team in 1992. It was their second Davis cup title in three years. Agassi famously played the game wearing Oakley brand sunglasses, and a photo of him from the day appeared on the cover of Tennis magazine. In his memoir, he wrote that he was covering up bloodshot eyes from a hangover and claimed that the founder of Oakley, Jim Jannard, had sent him a Dodge Viper to thank him for the inadvertent publicity. In 1993, Agassi won the only doubles title of his career, at the Cincinnati Masters, partnered with Petr Korda. He missed much of the early part of that year due to injuries. Although he made the quarterfinals in his Wimbledon title defense, he lost to eventual champion and No. 1 Pete Sampras in five sets. Agassi lost in the first round at the US Open to Thomas Enqvist and required wrist surgery late in the year. 1994–1997: Rise to the top, Olympic Gold and the fall With new coach Brad Gilbert on board, Agassi began to employ more of a tactical, consistent approach, which fueled his resurgence. He started slowly in 1994, losing in the first week at the French Open and Wimbledon. Nevertheless, he emerged during the hard-court season, winning the Canadian Open. His comeback culminated at the 1994 US Open with a five-set fourth-round victory against Michael Chang. He then became the first man to capture the US Open as an unseeded player, beating Michael Stich in the final. Along the way, he beat 5 seeded players. In 1995, Agassi shaved his balding head, breaking with his old "image is everything" style. He competed in the 1995 Australian Open (his first appearance at the event) and won, beating defending champion Sampras in a four-set final. Agassi and Sampras met in five tournament finals in 1995, all on hardcourt, with Agassi winning three. Agassi won three Masters Series events in 1995 (Cincinnati, Key Biscayne, and the Canadian Open) and seven titles total. He compiled a career-best 26-match winning streak during the summer hard-court circuit, with the last victory being in an intense late-night four-set semi-final |
of the US Open against Boris Becker. The streak ended the next day when Agassi lost the final to Sampras. Agassi admitted this loss, which gave Sampras a 9–8 lead in their head-to-head meetings, took two years for him to get over it mentally. Agassi reached the world No. 1 ranking for the first time in April 1995. He held that ranking until November, for a total of 30 weeks. Agassi skipped most of the fall indoor season which allowed Sampras to surpass him and finish ranked No. 1 at the year-end ranking. In terms of win–loss record, 1995 was Agassi's best year. He won 73 and lost 9 matches, and was also once again a key player on the United States' Davis Cup winning team—the third and final Davis Cup title of his career. 1996 was a less successful year for Agassi, as he failed to reach any Grand Slam final. He suffered two early-round losses to Chris Woodruff and Doug Flach at the French Open and Wimbledon, respectively, and lost to Chang in straight sets in the Australian and US Open semi-finals. At the time, Agassi blamed the Australian Open loss on the windy conditions, but later said in his biography that he had lost the match on purpose, as he did not want to play Boris Becker, whom he would have faced in that final. The high point for Agassi was winning the men's singles gold medal at the Olympic Games in Atlanta, beating Sergi Bruguera of Spain in the final. Agassi also successfully defended his singles titles in Cincinnati and Key Biscayne. 1997 was the low point of Agassi's career. His wrist injury resurfaced, and he played only 24 matches during the year. He later confessed that he started using crystal methamphetamine at that time, allegedly on the urging of a friend. He failed an ATP drug test, but wrote a letter claiming the same friend had spiked a drink. The ATP dropped the failed drug test as a warning. In his autobiography, Agassi admitted that the letter was a lie. He quit the drug soon after. At this time Agassi was also in a failing marriage with actress, model, and socialite Brooke Shields and had lost interest in the game. He won no top-level titles, and his ranking sank to No. 141 on November 10, 1997, prompting many to believe that his run as one |
of the sport's premier competitors was over and he would never again win any significant championships. 1998–2003: Return to glory and Career Super Slam In 1998, Agassi began a rigorous conditioning program and worked his way back up the rankings by playing in Challenger Series tournaments, a circuit for pro players ranked outside the world's top 50. After returning to top physical and mental shape, Agassi recorded the most successful period of his tennis career and also played classic matches in that period against Pete Sampras and Patrick Rafter. In 1998, Agassi won five titles and leapt from No. 110 to No. 6, the highest jump into the top 10 made by any player during a calendar year. At Wimbledon, he had an early loss in the second round to Tommy Haas. He won five titles in ten finals and was runner-up at the Masters Series tournament in Key Biscayne, losing to Marcelo Ríos, who became No. 1 as a result. At the year end he was awarded the ATP Most Improved Player of the Year for the second time in his career (the first being 10 years earlier in 1988). Agassi entered the history books in 1999 when he came back from two sets to love down to beat Andrei Medvedev in a five-set French Open final, becoming, at the time, only the fifth male player (joining Rod Laver, Fred Perry, Roy Emerson and Don Budge—these have since been joined by Roger Federer, Rafael Nadal, and Novak Djokovic) to win all four Grand Slam singles titles during his career. Only Laver, Agassi, Federer, Nadal and Djokovic have achieved this feat during the Open Era. This win also made him the first (of only four, the next being Federer, Nadal and Djokovic respectively) male player in history to have won all four Grand Slam titles on three different surfaces (clay, grass and hard courts). Agassi also became the only male player to win the Career Super Slam, consisting of all four Grand Slam tournaments plus an Olympic gold medal in singles and a Year-end championship. Agassi followed his 1999 French Open victory by reaching the Wimbledon final, where he lost to Sampras in straight sets. He rebounded from his Wimbledon defeat by winning the US Open, beating Todd Martin in five sets (rallying from a two sets to one deficit) in the final. Overall during the year Agassi won 5 |
titles including two majors and the ATP Masters Series in Paris, where he beat Marat Safin. Agassi ended 1999 as the No. 1, ending Sampras's record of six consecutive year-ending top rankings (1993–98). This was the only time Agassi ended the year at No. 1. Agassi was runner-up to Sampras at the year-end Tennis Masters Cup losing 1–6, 5–7, 4–6 despite beating Sampras in the round-robin 6–2, 6–2. He began the next year 2000 by capturing his second Australian Open title, beating Sampras in a five-set semi-final and Yevgeny Kafelnikov in a four-set final. He was the first male player to have reached four consecutive Grand Slam finals since Rod Laver achieved the Grand Slam in 1969. At the time, Agassi was also only the fourth player since Laver to be the reigning champion of three of four Grand Slam events, missing only the Wimbledon title.. 2000 also saw Agassi reach the semi-finals at Wimbledon, where he lost in five sets to Rafter in a match considered by many to be one of the best ever at Wimbledon. At the inaugural Tennis Masters Cup in Lisbon, Agassi reached the final after defeating Marat Safin in the semi-finals to end the Russian's hopes to become the youngest No. 1 in the history of tennis. Agassi then lost to Gustavo Kuerten in the final, allowing Kuerten to be crowned year-end No. 1. Agassi opened 2001 by successfully defending his Australian Open title with a straight-sets final win over Arnaud Clément. En route, he beat a cramping Rafter in five sets in front of a sell-out crowd in what turned out to be the Aussie's last Australian Open. At Wimbledon, they met again in the semi-finals, where Agassi lost another close match to Rafter, 8–6 in the fifth set. In the quarterfinals at the US Open, Agassi lost a 3-hour, 33 minute epic match with Sampras, 7–6, 6–7, 6–7, 6–7, with no breaks of serve during the 52-game match. Despite the setback, Agassi finished 2001 ranked No. 3, becoming the only male tennis player to finish a year ranked in the top 3 in three different decades. 2002 opened with disappointment for Agassi, as injury forced him to skip the Australian Open, where he was a two-time defending champion. Agassi recovered from the injury and later that year defended his Key Biscayne title beating then rising Roger Federer in a four-set final. At |
the US Open, Agassi overcame No.1 ranked and defending champion Lleyton Hewitt in the semi-finals. This led to what turned out to be the last duel between Agassi and Sampras in final of the US Open, which Sampras won in four sets and left Sampras with a 20–14 edge in their 34 career meetings. The match was the last of Sampras's career. Agassi's US Open finish, along with his Masters Series victories in Key Biscayne, Rome and Madrid, helped him finish 2002 as the oldest year-end No. 2 at 32 years and 8 months. In 2003, Agassi won the eighth (and final) Grand Slam title of his career at the Australian Open, where he beat Rainer Schüttler in straight sets in the final. On April 28, 2003, he recaptured the No. 1 ranking to become the oldest top-ranked male player since the ATP rankings began at 33 years and 13 days. The record was later surpassed by Roger Federer in 2018. He had held the No. 1 ranking for two weeks, when Lleyton Hewitt took it back on May 12, 2003. Agassi then recaptured the No. 1 ranking once again on June 16, 2003, which he held for 12 weeks until September 7, 2003. There he managed to reach the US Open semi-finals, where he lost to Juan Carlos Ferrero, surrendering his No. 1 ranking to him. During his career, Agassi held the ranking for a total of 101 weeks. Agassi's ranking slipped when injuries forced him to withdraw from a number of events. At the year-end Tennis Masters Cup, Agassi lost in the final to Federer, his third time to finish as runner-up in the event after losses in 1999 and 2000, and finished the year ranked No. 4. At age 33, he had been one of the oldest players to rank in the top 5 since Connors, at age 35, was No. 4 in 1987. 2004–2006: Final years In 2004, Agassi began the year with a five-set loss in the semi-finals of the Australian Open to Marat Safin; the loss ended Agassi's 26-match winning streak at the event. He won the Masters series event in Cincinnati to bring his career total to 59 top-level singles titles and a record 17 ATP Masters Series titles, having already won seven of the nine ATP Masters tournament—all except the tournaments in Monte Carlo and Hamburg. At 34, he became the second-oldest |
singles champion in Cincinnati tournament history (the tournament began in 1899), tied with Roger Federer and surpassed only by Ken Rosewall, who won the title in 1970 at age 35. He finished the year ranked No. 8, one of the oldest players to finish in the top 10 since the 36-year-old Connors was No. 7 in 1988. At the time, Agassi also became the sixth male player during the open era to reach 800 career wins with his first-round victory over Alex Bogomolov in Countrywide Classic in Los Angeles. Agassi's 2005 began with a quarterfinal loss to Federer at the Australian Open. Agassi had several other deep runs at tournaments, but had to withdraw from several events due to injury. He lost to Jarkko Nieminen in the first round of the French Open. He won his fourth title in Los Angeles and reached the final of the Rogers Cup, before falling to No. 2 Rafael Nadal. Agassi's 2005 was defined by an improbable run to the US Open final. After beating Răzvan Sabău and Ivo Karlović in straight sets and Tomáš Berdych in four sets, Agassi won three consecutive five-set matches to advance to the final. The most notable of these matches was his quarterfinal victory over James Blake, where he rallied from two sets down to win in the fifth set tie-breaker. His other five-set victories were on Xavier Malisse in the fourth round and Robby Ginepri in the semi-finals. In the final, Agassi faced Federer, who was seeking his second consecutive US Open title and his sixth Grand Slam title in two years. Federer defeated Agassi in four sets. Agassi finished 2005 ranked No. 7, his 16th time in the year-end top-10 rankings, which tied Connors for the most times ranked in the top 10 at year's end. Agassi had a poor start to 2006, as he was still recovering from an ankle injury and also suffering from back and leg pain and lack of match play. Agassi withdrew from the Australian Open because of the ankle injury, and his back injury and other pains forced him to withdraw from several other events, eventually skipping the entire clay-court season including the French Open. This caused his ranking to drop out of the top 10 for the last time. Agassi returned for the grass-court season, playing a tune-up, and then Wimbledon. He was defeated in the third round by |
world No. 2 (and eventual runner-up) Rafael Nadal. Against conventions, Agassi, the losing player, was interviewed on court after the match. At Wimbledon, Agassi announced his plans to retire following the US Open. Agassi played only two events during the summer hard-court season with his best result being a quarterfinal loss at the Countrywide Classic in Los Angeles to Fernando González of Chile, which resulted in him being unseeded at the US Open. Agassi had a short, but dramatic, run in his final US Open. Because of extreme back pain, Agassi was forced to receive anti-inflammatory injections after every match. After a tough four-set win against Andrei Pavel, Agassi faced eighth-seeded Marcos Baghdatis in the second round who had earlier advanced to the 2006 Australian Open final and Wimbledon semi-finals. Agassi won in five tough sets as the younger Baghdatis succumbed to muscle cramping in the final set. In his last match, Agassi fell to 112th-ranked big-serving Benjamin Becker of Germany in four sets. Agassi received a four-minute standing ovation from the crowd after the match and delivered a retirement speech. Rivalries Agassi vs. Sampras The rivalry has been called the greatest of the generation of players competing in the 1990s, as Sampras and Agassi were the most successful players of that decade. They also had very contrasting playing styles, with Sampras being considered the greatest server and Agassi the greatest serve returner at the time. Agassi and Sampras met 34 times on the tour level with Agassi trailing 14–20. The 1990 US Open was their first meeting in a Grand Slam tournament final. Agassi was favored as he was ranked No. 4 at the time, compared to the No. 12 ranking of Sampras and because Agassi had defeated Sampras in their only previously completed match. Agassi, however, lost the final to Sampras in straight sets. Their next meeting in a Grand Slam was at the 1992 French Open, where they met in the quarterfinals. Although Sampras was ranked higher, Agassi came out winning in straight sets. They met again on a Grand Slam level at the quarterfinals of Wimbledon in 1993, where Agassi was the defending champion and Sampras was the newly minted world No. 1. Agassi dug himself out from a two-sets-to-love hole, levelling the match at two sets apiece; however, Sampras prevailed in five sets, and went on to win his first Wimbledon championship. With both Sampras |
and Agassi participating, the US won the Davis Cup in 1995. The year should be considered the peak of the rivalry as together they won three out of four major titles, meeting each other twice in the finals, and were occupying the top two spots in the rankings for the whole year. They met five times during the year, all in the title matches, including the Australian Open, the Newsweek Champions Cup (now Indian Wells), the Lipton International Players Championships (now Miami Open), the Canadian Open, and the US Open. Agassi won three of the finals, including the Australian Open; however, Sampras took the US Open title, ending Agassi's 26-match winning streak. After Agassi had taken most of the fall season off, Sampras took over the No. 1 ranking for the end of the season. Agassi admitted this loss, which gave Sampras a 9–8 lead in their head-to-head meetings, took two years for him to get over it mentally. In the following three years, while Sampras continued winning Grand Slam titles every season, Agassi slumped in the rankings and struggled in major competitions. The next time Sampras and Agassi met in a Grand Slam final was at Wimbledon in 1999, where Sampras won in straight sets. For both, it was considered a career rejuvenation, as Sampras had suffered a string of disappointments in the previous year while Agassi was regaining his status as a top-ranked player after winning the French Open. Sampras forfeited the No. 1 ranking to Agassi when injury forced him to withdraw from that year's US Open, which Agassi went on to win. They faced each other twice in the season-ending ATP Tour World Championships, with Sampras losing the round-robin match, but winning the final. In the 2000s, they met three more times on the Grand Slam level offering three memorable contests. In 2000, the top-ranked Agassi defeated No. 3 Sampras in the semi-finals of the Australian Open in five sets, which was an important win for Agassi who had lost 4 of the previous five matches against Sampras. In arguably their most memorable match ever, Sampras defeated Agassi in the 2001 US Open quarterfinals in four sets. There were no breaks of serve during the entire match. Reruns of the match are frequently featured on television, especially during US Open rain delays, and the match is considered one of the best in history because of the |
level of play presented by both players. Their last meeting was the final of the 2002 US Open, which was their third meeting in a US Open final, but the first since 1995. The match was also notable because they had defeated several up-and-coming players en route to the final. Sampras had defeated No. 3 Tommy Haas in the fourth round and future No. 1 Andy Roddick in the quarterfinals, while Agassi had defeated No. 1 and defending champion Lleyton Hewitt in the semi-finals. Sampras defeated Agassi in four sets. This was the final ATP tour singles match of Sampras's career. Agassi vs. Chang Michael Chang was the opponent Agassi faced most frequently from all the players other than Sampras. They met 22 times on the tour level with Agassi leading 15–7. Chang, unlike most of Agassi's big rivals, had a playing style similar to his. Both players preferred to stay at the baseline with Chang being more defensive-minded. The outcome was that most of their meetings were built on long and entertaining rallies. The rivalry began late in the 1980s with both players being considered the prodigies of the next great generation of American tennis players and both being of foreign descent. Agassi won the first four matches including a straight-set victory in round 16 of the 1988 US Open and defeating Chang, the defending champion, in the 1990 French Open in a four-set quarterfinal. Arguably their best match took place in the round of 16 of the 1994 US Open. While both players presented high-quality shot-making, the momentum changed from set to set with Agassi eventually prevailing in a five-set victory. It turned out to be the toughest contest on his way to his first US Open title. Their next two Grand Slam meetings came in 1996, with Chang recording easy straight-set victories in the semi-finals of both the Australian Open and the US Open. Years after, Agassi shockingly admitted in his book that he had lost the first of the matches on purpose as he did not want to face Boris Becker, who was awaiting the winner in the final. Agassi won the last four of their matches, with the last being in 2003 at the Miami Open with Chang being clearly past his prime. Agassi vs. Becker Boris Becker and Agassi played 14 times with Agassi leading 10–4. Becker won their first three matches in 1988 |
and 1989 before Agassi reversed the rivalry in 1990, and won 10 of their last 11 matches. They first played at Indian Wells in 1988, with Becker prevailing. Their most notable match was the 1989 Davis Cup semi-final match, which Becker won in five sets after losing the first two in tiebreaks. Agassi, considered a baseliner with a playing style not suiting grass, shocked Becker, a three-time champion, in a five-set quarterfinal at Wimbledon in 1992 on his way to his first Grand Slam title. The intensity of the rivalry peaked in 1995. Becker won that year's Wimbledon semi-final after being down a set and two breaks, to eventually win in four sets. In a highly anticipated rematch in the US Open semi-final, this time it was Agassi who came out victorious in four tight sets. Their final match was played at Hong Kong in 1999, which Agassi won in three sets. Agassi vs. Rafter Agassi and Pat Rafter played fifteen times with Agassi leading 10–5. The rivalry has been considered special and delivered memorable encounters, because of the players' contrasting styles of play, with Rafter using traditional serve-&-volley methods against Agassi's variety of return of serves and passing shots as his main weapons. Agassi led 8–2 on hard courts, but Rafter surprisingly won their sole match on clay at the 1999 Rome Masters. They played four matches at Wimbledon with both winning two matches each. Agassi won the first two in 1993 and 1999, while Rafter took their 2000 and 2001 encounters, the latter two matches being gruelling 5-setters often being presented on the lists of best matches ever played. Agassi also won both their meetings at the Australian Open, in 1995 and 2001, on his way to the title on both occasions. Rafter, however, took their only US Open encounter in 1997 and went on to win the title. Agassi vs. Federer Agassi and Roger Federer played 11 times, and Federer led their head-to-head series 8–3. With the retirement of Sampras, the rivalry against the 11-years-younger Federer, who was another great server like Sampras, became Agassi's main rivalry for the final years of his career. Agassi won their first three matches, but then went on to lose eight consecutive ones. They first met in just the third tournament of Federer's career at the 1998 Swiss Indoors in Federer's hometown, with Agassi prevailing over the 17-year-old. Agassi also defeated |