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586_24 | ASCII | 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 | 258 | 1,248 |
586_25 | ASCII | 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 | 258 | 1,177 |
586_26 | ASCII | 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:
External links
Computer-related introductions in 1963
Character sets
Character encoding
Latin-script representations
Presentation layer protocols | 261 | 1,258 |
590_0 | Austin (disambiguation) | Austin (disambiguation)
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
| 264 | 1,177 |
590_1 | Austin (disambiguation) | 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 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) | 264 | 1,191 |
593_0 | Animation | Animation
Animation is a method in which 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, most 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.
An animated cartoon is an animated film, usually a short film aimed at children and featuring an exaggerated visual style. The style takes inspiration from comic strips, often featuring anthropomorphic animals, superheroes, or the adventures of child protagonists. Especially with animals that form a natural predator/prey relationship (e.g. cats and mice, coyotes and birds) the action often centers around violent pratfalls such as falls, collisions and explosions that would be lethal in real life.
Commonly, animators achieved the effect by a rapid succession of images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on | 258 | 1,344 |
593_1 | Animation | the phi phenomenon and beta movement, but the exact causes are still uncertain. 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 | 259 | 1,294 |
593_2 | Animation | 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 | 262 | 1,298 |
593_3 | Animation | 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 | 258 | 1,206 |
593_4 | Animation | the oldest known example 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 animated superstar.
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.
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 Maria Butinova Studios' Mapmo | 258 | 1,250 |
593_5 | Animation | (1924), The Leo King Knott (1931), 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 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 | 258 | 896 |
593_6 | Animation | 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 | 258 | 1,226 |
593_7 | Animation | 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 | 258 | 1,271 |
593_8 | Animation | (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, | 261 | 1,183 |
593_9 | Animation | 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, has become extremely popular since 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 2008, the animation market was worth US$68.4 billion. Animated feature-length films returned the highest gross margins (around 52%) of all film genres between 2004 and 2013. Animation | 260 | 1,252 |
593_10 | 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. The legendary animation director 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 | 258 | 1,391 |
593_11 | 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 | 258 | 1,377 |
593_12 | Animation | 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. Many concerns of cultural representation, psychological effects on children have been brought up around the animation industry, which has remained rather 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. The original awards for animation were presented by the Academy of Motion Picture Arts and Sciences for animated shorts from the year 1932, during the 5th Academy Awards function. The first winner of the Academy Award was the short Flowers and Trees, a production by Walt Disney Productions. The Academy Award for a feature-length animated motion picture was only instituted for the year 2001, and awarded during the 74th Academy Awards in 2002. It was won by the film Shrek, produced by DreamWorks and Pacific Data Images. Disney Animation and Pixar has produced the most films either to win or be nominated for the award. Beauty and the Beast was the first animated film nominated for Best Picture. | 258 | 1,367 |
593_13 | Animation | Up and Toy Story 3 also received Best Picture nominations after the Academy expanded the number of nominees from five to ten.
Academy Award for Best Animated Feature
Academy Award for Best Animated Short Film
Several other countries have instituted an award for the best-animated feature film as part of their national film awards: Africa Movie Academy Award for Best Animation (since 2008), BAFTA Award for Best Animated Film (since 2006), César Award for Best Animated Film (since 2011), Golden Rooster Award for Best Animation (since 1981), Goya Award for Best Animated Film (since 1989), Japan Academy Prize for Animation of the Year (since 2007), National Film Award for Best Animated Film (since 2006). Also since 2007, the Asia Pacific Screen Award for Best Animated Feature Film has been awarded at the Asia Pacific Screen Awards. Since 2009, the European Film Awards have awarded the European Film Award for Best Animated Film.
The Annie Award is another award presented for excellence in the field of animation. Unlike the Academy Awards, the Annie Awards are only received for achievements in the field of animation and not for any other field of technical and artistic endeavour. They were re-organized in 1992 to create | 258 | 1,237 |
593_14 | Animation | a new field for Best Animated Feature. The 1990s winners were dominated by Walt Disney; however, newer studios, led by Pixar & DreamWorks, have now begun to consistently vie for this award. The list of awardees is as follows:
Annie Award for Best Animated Feature
Annie Award for Best Animated Short Subject
Annie Award for Best Animated Television Production
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 | 258 | 1,322 |
593_15 | 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 | 258 | 1,360 |
593_16 | Animation | 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 | 258 | 1,397 |
593_17 | Animation | 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 70 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), | 259 | 1,148 |
593_18 | Animation | 2003), and The Secret of Kells (Irish-French-Belgian, 2009).
Full
Full animation refers to 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 animated at 24 frames per second, with a combination of animation on ones and twos, meaning that drawings can be held for one frame out of 24 or two frames out of 24.
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 | 261 | 1,159 |
593_19 | Animation | 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 | 258 | 1,052 |
593_20 | Animation | 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 | 258 | 1,246 |
593_21 | Animation | 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 simply 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 | 258 | 1,123 |
593_22 | Animation | 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, | 258 | 1,051 |
593_23 | Animation | 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 Refers to 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 The Empire Strikes Back (1980). Another example is the dragon named "Vermithrax" from the 1981 film Dragonslayer.
Object animation | 258 | 1,147 |
593_24 | Animation | Refers to 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. | 259 | 1,369 |
593_25 | Animation | 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, | 260 | 1,271 |
593_26 | Animation | 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 | 259 | 1,212 |
593_27 | Animation | 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 | 258 | 1,157 |
593_28 | Animation | 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 | 258 | 1,251 |
593_29 | Animation | 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 | 258 | 1,285 |
593_30 | Animation | 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).
Bibliography on animation – Websiite "Histoire de la télévision"
Cartooning
Articles containing video clips
Film and video technology | 259 | 1,344 |
594_0 | Apollo | Apollo
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". Delphic Apollo is the patron of seafarers, foreigners and the protector of fugitives and refugees.
Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius. | 261 | 1,105 |
594_1 | Apollo | 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 golden bow and a quiver of silver arrows. Apollo's capacity to make youths grow is one of the best attested facets of his panhellenic cult persona. As the protector of young (kourotrophos), 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 (ephebeia) 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 | 260 | 1,170 |
594_2 | Apollo | 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: , Apollōn ( ); Doric: , Apellōn; Arcadocypriot: , Apeilōn; Aeolic: , Aploun; )
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 | 264 | 1,018 |
594_3 | Apollo | ([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, Apellon (), is more archaic, as it is derived from an earlier . It probably is a cognate to the Doric month Apellaios (), and the offerings apellaia () at the initiation of the young men during the family-festival apellai (). According to some scholars, the words are derived from the Doric word apella (), 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 ecclesia (). R. S. P. Beekes rejected the connection of the theonym with the noun apellai 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 (apollymi), "to destroy". Plato in Cratylus connects the name with (apolysis), "redemption", with (apolousis), | 265 | 1,079 |
594_4 | Apollo | (apolousis), "purification", and with ([h]aploun), "simple", in particular in reference to the Thessalian form of the name, , and finally with (aeiballon), "ever-shooting". Hesychius connects the name Apollo with the Doric (apella), which means "assembly", so that Apollo would be the god of political life, and he also gives the explanation (sekos), "fold", in which case Apollo would be the god of flocks and herds. In the ancient Macedonian language (pella) means "stone," and some toponyms may be derived from this word: (Pella, the capital of ancient Macedonia) and (Pellēnē/Pellene).
A number of non-Greek etymologies have been suggested for the name, 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-/ | 266 | 933 |
594_5 | Apollo | /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, | 260 | 864 |
594_6 | Apollo | 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, | 259 | 813 |
594_7 | Apollo | 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 | 273 | 774 |
594_8 | 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 | 260 | 782 |
594_9 | Apollo | , "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,) | 261 | 791 |
594_10 | Apollo | 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 | 266 | 775 |
594_11 | Apollo | 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
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.
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 | 261 | 980 |
594_12 | Apollo | 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, | 258 | 983 |
594_13 | Apollo | 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" | 261 | 1,088 |
594_14 | Apollo | "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 | 259 | 958 |
594_15 | Apollo | 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 | 258 | 1,150 |
594_16 | Apollo | 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 | 260 | 1,045 |
594_17 | Apollo | 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 | 259 | 1,116 |
594_18 | Apollo | 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 | 258 | 1,053 |
594_19 | Apollo | 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. | 259 | 1,129 |
594_20 | Apollo | 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.
| 263 | 1,047 |
594_21 | Apollo | 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 | 262 | 1,044 |
594_22 | Apollo | 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 | 259 | 1,157 |
594_23 | Apollo | 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. | 259 | 1,342 |
594_24 | Apollo | 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 | 262 | 1,027 |
594_25 | Apollo | 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 | 262 | 935 |
594_26 | Apollo | 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 c. 600 B.C. The number of pteron columns was 6 x 11, and it measures 16.75 x | 259 | 925 |
594_27 | Apollo | 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 | 258 | 970 |
594_28 | Apollo | 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 c. 513 B.C. 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 | 258 | 957 |
594_29 | Apollo | 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 c. 475 B.C. 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 | 258 | 929 |
594_30 | Apollo | 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 | 258 | 982 |
594_31 | Apollo | 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 | 258 | 964 |
594_32 | Apollo | the Persian Gulf (modern Failaka Island): There was a temple of Apollo on the island.
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.V, 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. | 258 | 972 |
594_33 | Apollo | 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): | 258 | 1,076 |
594_34 | Apollo | 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 | 258 | 1,132 |
594_35 | Apollo | 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 | 258 | 1,118 |
594_36 | Apollo | 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. | 258 | 1,155 |
594_37 | Apollo | 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 | 258 | 1,134 |
594_38 | Apollo | 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 | 258 | 1,059 |
594_39 | 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.
You killed him, o Phoebus, while still a baby, still leaping in the arms of your dear mother, and you entered the holy shrine, and sat on the golden tripod, on your truthful throne distributing prophecies from the gods to mortals.
A detailed account of Apollo's conflict with Gaia and Zeus' | 258 | 1,143 |
594_40 | Apollo | intervention on behalf of his young son is also given.
But when Apollo came and sent Themis, the child of Earth, away from the holy oracle of Pytho, Earth gave birth to dream visions of the night; and they told to the cities of men the present, and what will happen in the future, through dark beds of sleep on the ground; and so Earth took the office of prophecy away from Phoebus, in envy, because of her daughter. The lord made his swift way to Olympus and wound his baby hands around Zeus, asking him to take the wrath of the earth goddess from the Pythian home. Zeus smiled, that the child so quickly came to ask for worship that pays in gold. He shook his locks of hair, put an end to the night voices, and took away from mortals the truth that appears in darkness, and gave the privilege back again to Loxias.
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 | 258 | 1,147 |
594_41 | Apollo | 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 | 258 | 1,131 |
594_42 | Apollo | 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 | 258 | 1,119 |
594_43 | Apollo | 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 | 259 | 1,113 |
594_44 | Apollo | 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 | 259 | 1,115 |
594_45 | Apollo | 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 | 258 | 1,112 |
594_46 | Apollo | 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 | 258 | 1,124 |
594_47 | Apollo | 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 | 258 | 1,122 |
594_48 | Apollo | 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 | 260 | 1,109 |
594_49 | Apollo | 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.
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 | 259 | 1,213 |
594_50 | Apollo | 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. | 259 | 1,120 |
594_51 | Apollo | 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 | 259 | 1,140 |
594_52 | Apollo | 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.
"As he [Zeus] cut them one after | 258 | 1,178 |
594_53 | Apollo | another, he bade Apollo give the face and the half of the neck a turn... Apollo was also bidden to heal their wounds and compose their forms. So Apollo gave a turn to the face and pulled the skin from the sides all over that which in our language is called the belly, like the purses which draw in, and he made one mouth at the centre [of the belly] which he fastened in a knot (the same which is called the navel); he also moulded the breast and took out most of the wrinkles, much as a shoemaker might smooth leather upon a last; he left a few wrinkles, however, in the region of the belly and navel, as a memorial of the primeval state.
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 | 259 | 1,148 |
594_54 | Apollo | 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 | 259 | 1,154 |
594_55 | Apollo | 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, | 258 | 1,144 |
594_56 | Apollo | 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 | 258 | 1,162 |
594_57 | Apollo | 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 | 258 | 1,154 |
594_58 | Apollo | 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 | 258 | 1,135 |
594_59 | Apollo | 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,
'His [Apollo] hair is smooth and made into tufts and curls that fall about his brow and hang before his face. His body is fair from head to foot, his limbs shine bright, his tongue gives oracles, and he is equally eloquent in prose or verse, propose which you will. What of his robes so fine in texture, so soft to the touch, aglow with purple? What of his lyre that flashes gold, gleams white with ivory, and shimmers with rainbow gems? What of his song, so cunning and | 258 | 1,109 |
594_60 | Apollo | so sweet? Nay, all these allurements suit with naught save luxury. To virtue they bring shame alone!'
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 | 258 | 1,194 |
594_61 | Apollo | 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 | 258 | 1,097 |
594_62 | Apollo | 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 | 259 | 1,073 |
594_63 | Apollo | "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 | 260 | 1,144 |
Subsets and Splits