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Paris' manufacturing is mostly focused in its suburbs, and the city itself has only around 75,000 manufacturing workers, most of which are in the textile, clothing, leather goods and shoe trades. Paris region manufacturing specialises in transportation, mainly automobiles, aircraft and trains, but this is in a sharp decline: Paris proper manufacturing jobs dropped by 64 percent between 1990 and 2010, and the Paris region lost 48 percent during the same period. Most of this is due to companies relocating outside the Paris region. The Paris region's 800 aerospace companies employed 100,000. Four hundred automobile industry companies employ another 100,000 workers: many of these are centred in the Yvelines department around the Renault and PSA-Citroen plants (this department alone employs 33,000), but the industry as a whole suffered a major loss with the 2014 closing of a major Aulnay-sous-Bois Citroen assembly plant.
The southern Essonne department specialises in science and technology, and the south-eastern Val-de-Marne, with its wholesale Rungis food market, specialises in food processing and beverages. The Paris region's manufacturing decline is quickly being replaced by eco-industries: these employ about 100,000 workers. In 2011, while only 56,927 construction workers worked in Paris itself, its metropolitan area employed 246,639, in an activity centred largely around the Seine-Saint-Denis (41,378) and Hauts-de-Seine (37,303) departments and the new business-park centres appearing there.
The average net household income (after social, pension and health insurance contributions) in Paris was €36,085 for 2011. It ranged from €22,095 in the 19th arrondissement to €82,449 in the 7th arrondissement. The median taxable income for 2011 was around €25,000 in Paris and €22,200 for Île-de-France. Generally speaking, incomes are higher in the Western part of the city and in the western suburbs than in the northern and eastern parts of the urban area.[citation needed] Unemployment was estimated at 8.2 percent in the city of Paris and 8.8 percent in the Île-de-France region in the first trimester of 2015. It ranged from 7.6 percent in the wealthy Essonne department to 13.1 percent in the Seine-Saint-Denis department, where many recent immigrants live.
While Paris has some of the richest neighbourhoods in France, it also has some of the poorest, mostly on the eastern side of the city. In 2012, 14 percent of households in the city earned less than €977 per month, the official poverty line. Twenty-five percent of residents in the 19th arrondissement lived below the poverty line; 24 percent in the 18th, 22 percent in the 20th and 18 percent in the 10th. In the city's wealthiest neighbourhood, the 7th arrondissement, 7 percent lived below the poverty line; 8 percent in the 6th arrondissement; and 9 percent in the 16th arrondissement.
There were 72.1 million visitors to the city's museums and monuments in 2013. The city's top tourist attraction was the Notre Dame Cathedral, which welcomed 14 million visitors in 2013. The Louvre museum had more than 9.2 million visitors in 2013, making it the most visited museum in the world. The other top cultural attractions in Paris in 2013 were the Basilique du Sacré-Cœur (10.5 million visitors); the Eiffel Tower (6,740,000 visitors); the Centre Pompidou (3,745,000 visitors) and Musée d'Orsay (3,467,000 visitors). In the Paris region, Disneyland Paris, in Marne-la-Vallée, 32 km (20 miles) east of the centre of Paris, was the most visited tourist attraction in France, with 14.9 million visitors in 2013.
The centre of Paris contains the most visited monuments in the city, including the Notre Dame Cathedral and the Louvre as well as the Sainte-Chapelle; Les Invalides, where the tomb of Napoleon is located, and the Eiffel Tower are located on the Left Bank south-west of the centre. The banks of the Seine from the Pont de Sully to the Pont d'Iéna have been listed as a UNESCO World Heritage Site since 1991. Other landmarks are laid out east to west along the historic axis of Paris, which runs from the Louvre through the Tuileries Garden, the Luxor Column in the Place de la Concorde, the Arc de Triomphe, to the Grande Arche of La Défense.
As of 2013 the City of Paris had 1,570 hotels with 70,034 rooms, of which 55 were rated five-star, mostly belonging to international chains and mostly located close to the centre and the Champs-Élysées. Paris has long been famous for its grand hotels. The Hotel Meurice, opened for British travellers in 1817, was one of the first luxury hotels in Paris. The arrival of the railroads and the Paris Exposition of 1855 brought the first flood of tourists and the first modern grand hotels; the Hôtel du Louvre (now an antiques marketplace) in 1855; the Grand Hotel (now the Intercontinental LeGrand) in 1862; and the Hôtel Continental in 1878. The Hôtel Ritz on Place Vendôme opened in 1898, followed by the Hôtel Crillon in an 18th-century building on the Place de la Concorde in 1909; the Hotel Bristol on rue de Fabourg Saint-Honoré in 1925; and the Hotel George V in 1928.
For centuries, Paris has attracted artists from around the world, who arrive in the city to educate themselves and to seek inspiration from its vast pool of artistic resources and galleries. As a result, Paris has acquired a reputation as the "City of Art". Italian artists were a profound influence on the development of art in Paris in the 16th and 17th centuries, particularly in sculpture and reliefs. Painting and sculpture became the pride of the French monarchy and the French royals commissioned many Parisian artists to adorn their palaces during the French Baroque and Classicism era. Sculptors such as Girardon, Coysevox and Coustou acquired reputations as the finest artists in the royal court in 17th-century France. Pierre Mignard became the first painter to King Louis XIV during this period. In 1648, the Académie royale de peinture et de sculpture (Royal Academy of Painting and Sculpture) was established to accommodate for the dramatic interest in art in the capital. This served as France's top art school until 1793.
Paris was in its artistic prime in the 19th century and early 20th century, when it had a colony of artists established in the city and in art schools associated with some of the finest painters of the times: Manet, Monet, Berthe Morisot, Gauguin, Renoir and others. The French Revolution and political and social change in France had a profound influence on art in the capital. Paris was central to the development of Romanticism in art, with painters such as Gericault. Impressionism, Art Nouveau, Symbolism, Fauvism Cubism and Art Deco movements all evolved in Paris. In the late 19th century, many artists in the French provinces and worldwide flocked to Paris to exhibit their works in the numerous salons and expositions and make a name for themselves. Artists such as Pablo Picasso, Henri Matisse, Vincent van Gogh, Paul Cézanne, Jean Metzinger, Albert Gleizes, Henri Rousseau, Marc Chagall, Amedeo Modigliani and many others became associated with Paris. Picasso, living in Montmartre, painted his famous La Famille de Saltimbanques and Les Demoiselles d'Avignon between 1905 and 1907. Montmartre and Montparnasse became centres for artistic production.
The inventor Nicéphore Niépce produced the first permanent photograph on a polished pewter plate in Paris in 1825, and then developed the process with Louis Daguerre. The work of Étienne-Jules Marey in the 1880s contributed considerably to the development of modern photography. Photography came to occupy a central role in Parisian Surrealist activity, in the works of Man Ray and Maurice Tabard. Numerous photographers achieved renown for their photography of Paris, including Eugène Atget, noted for his depictions of street scenes, Robert Doisneau, noted for his playful pictures of people and market scenes (among which Le baiser de l'hôtel de ville has became iconic of the romantic vision of Paris), Marcel Bovis, noted for his night scenes, and others such as Jacques-Henri Lartigue and Cartier-Bresson. Poster art also became an important art form in Paris in the late nineteenth century, through the work of Henri de Toulouse-Lautrec, Jules Chéret, Eugène Grasset, Adolphe Willette, Pierre Bonnard, Georges de Feure, Henri-Gabriel Ibels, Gavarni, and Alphonse Mucha.
The Louvre was the world's most visited art museum in 2014, with 9.3 million visitors. Its treasures include the Mona Lisa (La Joconde) and the Venus de Milo statue. Starkly apparent with its service-pipe exterior, the Centre Georges Pompidou, the second-most visited art museum in Paris, also known as Beaubourg, houses the Musée National d'Art Moderne. The Musée d'Orsay, in the former Orsay railway station, was the third-most visited museum in the city in 2014; it displays French art of the 19th century, including major collections of the Impressionists and Post-Impressionists. The original building - a railway station - was constructed for the Universal Exhibition of 1900. The Musée du quai Branly was the fourth-most visited national museum in Paris in 2014; it displays art objects from Africa, Asia, Oceania, and the Americas. The Musée national du Moyen Âge, or Cluny Museum, presents Medieval art, including the famous tapestry cycle of The Lady and the Unicorn. The Guimet Museum, or Musée national des arts asiatiques, has one of the largest collections of Asian art in Europe. There are also notable museums devoted to individual artists, including the Picasso Museum the Rodin Museum, and the Musée national Eugène Delacroix.
Paris hosts one of the largest science museums in Europe, the Cité des Sciences et de l'Industrie at La Villette. The National Museum of Natural History, on the Left Bank, is famous for its dinosaur artefacts, mineral collections, and its Gallery of Evolution. The military history of France, from the Middle Ages to World War II, is vividly presented by displays at the Musée de l'Armée at Les Invalides, near the tomb of Napoleon. In addition to the national museums, run by the French Ministry of Culture, the City of Paris operates 14 museums, including the Carnavalet Museum on the history of Paris; Musée d'Art Moderne de la Ville de Paris; Palais de Tokyo; the House of Victor Hugo and House of Balzac, and the Catacombs of Paris. There are also notable private museums; The Contemporary Art museum of the Louis Vuitton Foundation, designed by architect Frank Gehry, opened in October 2014 in the Bois de Boulogne.
The largest opera houses of Paris are the 19th-century Opéra Garnier (historical Paris Opéra) and modern Opéra Bastille; the former tends toward the more classic ballets and operas, and the latter provides a mixed repertoire of classic and modern. In middle of the 19th century, there were three other active and competing opera houses: the Opéra-Comique (which still exists), Théâtre-Italien, and Théâtre Lyrique (which in modern times changed its profile and name to Théâtre de la Ville). Philharmonie de Paris, the modern symphonic concert hall of Paris, opened in January 2015. Another musical landmark is the Théâtre des Champs-Élysées, where the first performances of Diaghilev's Ballets Russes took place in 1913.
Theatre traditionally has occupied a large place in Parisian culture, and many of its most popular actors today are also stars of French television. The oldest and most famous Paris theatre is the Comédie-Française, founded in 1680. Run by the French government, it performs mostly French classics at the Salle Richelieu in the Palais-Royal at 2 rue de Richelieu, next to the Louvre. of Other famous theaters include the Odéon-Théâtre de l'Europe, next to the Luxembourg Gardens, also a state institution and theatrical landmark; the Théâtre Mogador, and the Théâtre de la Gaîté-Montparnasse.
The music hall and cabaret are famous Paris institutions. The Moulin Rouge was opened in 1889. It was highly visible because of its large red imitation windmill on its roof, and became the birthplace of the dance known as the French Cancan. It helped make famous the singers Mistinguett and Édith Piaf and the painter Toulouse-Lautrec, who made posters for the venue. In 1911, the dance hall Olympia Paris invented the grand staircase as a settling for its shows, competing with its great rival, the Folies Bergère, Its stars in the 1920s included the American singer and dancer Josephine Baker. The Casino de Paris presented many famous French singers, including Mistinguett, Maurice Chevalier, and Tino Rossi. Other famous Paris music halls include Le Lido, on the Champs-Élysées, opened in 1946; and the Crazy Horse Saloon, featuring strip-tease, dance and magic, opened in 1951. The Olympia Paris has presented Edith Piaf, Marlene Dietrich, Miles Davis, Judy Garland, and the Grateful Dead. A half dozen music halls exist today in Paris, attended mostly visitors to the city.
The first book printed in France, Epistolae ("Letters"), by Gasparinus de Bergamo (Gasparino da Barzizza), was published in Paris in 1470 by the press established by Johann Heynlin. Since then, Paris has been the centre of the French publishing industry, the home of some of the world's best-known writers and poets, and the setting for many classic works of French literature. Almost all the books published in Paris in the Middle Ages were in Latin, rather than French. Paris did not become the acknowledged capital of French literature until the 17th century, with authors such as Boileau, Corneille, La Fontaine, Molière, Racine, several coming from the provinces, and the foundation of the Académie française. In the 18th century, the literary life of Paris revolved around the cafés and salons, and was dominated by Voltaire, Jean-Jacques Rousseau, Pierre de Marivaux, and Beaumarchais.
During the 19th century, Paris was the home and subject for some of France's greatest writers, including Charles Baudelaire, Stéphane Mallarmé, Mérimée, Alfred de Musset, Marcel Proust, Émile Zola, Alexandre Dumas, Gustave Flaubert, Guy de Maupassant and Honoré de Balzac. Victor Hugo's The Hunchback of Notre Dame inspired the renovation of its setting, the Notre-Dame de Paris. Another of Victor Hugo's works, Les Misérables, written while he was in exile outside France during the Second Empire, described the social change and political turmoil in Paris in the early 1830s. One of the most popular of all French writers, Jules Verne, worked at the Theatre Lyrique and the Paris stock exchange, while he did research for his stories at the National Library.
In the 20th century, the Paris literary community was dominated by Colette, André Gide, François Mauriac, André Malraux, Albert Camus, and, after World War II, by Simone de Beauvoir and Jean-Paul Sartre; Between the wars it was the home of many important expatriate writers, including Ernest Hemingway, Samuel Beckett, and, in the 1970s, Milan Kundera. The winner of the 2014 Nobel Prize in Literature, Patrick Modiano–who lives in Paris–, based most of his literary work on the depiction of the city during World War II and the 1960s-1970s.
Paris is a city of books and bookstores. In the 1970s, 80 percent of French-language publishing houses were found in Paris, almost all on the Left Bank in the 5th, 6th and 7th arrondissements. Since that time, because of high prices, some publishers have moved out to the less expensive areas. It is also a city of small bookstores; There are about 150 bookstores in the 5th arrondissement alone, plus another 250 book stalls along the Seine. Small Paris bookstores are protected against competition from discount booksellers by French law; books, even e-books, cannot be discounted more than five percent below their publisher's cover price.
In the late 12th-century, a school of polyphony was established at the Notre-Dame. A group of Parisian aristocrats, known as Trouvères, became known for their poetry and songs. Troubadors were also popular. During the reign of Francois I, the lute became popular in the French court, and a national musical printing house was established. During the Renaissance era, the French Boleroroyals "disported themselves in masques, ballets, allegorical dances, recitals, and opera and comedy". Baroque-era composers include Jean-Baptiste Lully, Jean-Philippe Rameau, and François Couperin and were popular. The Conservatoire de Musique de Paris was founded in 1795. By 1870, Paris had become an important centre for symphony, ballet and operatic music. Romantic-era composers (in Paris) include Hector Berlioz (La Symphonie fantastique), Charles Gounod (Faust), Camille Saint-Saëns (Samson et Delilah), Léo Delibes (Lakmé) and Jules Massenet (Thaïs), among others. Georges Bizet's Carmen premiered 3 March 1875. Carmen has since become one of the most popular and frequently-performed operas in the classical canon; Impressionist composers Claude Debussy ((La Mer) and Maurice Ravel (Boléro) also made significant contributions to piano (Clair de lune, Miroirs), orchestra, opera (Palléas et Mélisande), and other musical forms. Foreign-born composers have made their homes in Paris and have made significant contributions both with their works and their influence. They include Frédéric Chopin (Poland), Franz Liszt (Hungary), Jacques Offenbach (Germany), and Igor Stravinsky (Russia).
Bal-musette is a style of French music and dance that first became popular in Paris in the 1870s and 1880s; by 1880 Paris had some 150 dance halls in the working-class neighbourhoods of the city. Patrons danced the bourrée to the accompaniment of the cabrette (a bellows-blown bagpipe locally called a "musette") and often the vielle à roue (hurdy-gurdy) in the cafés and bars of the city. Parisian and Italian musicians who played the accordion adopted the style and established themselves in Auvergnat bars especially in the 19th arrondissement, and the romantic sounds of the accordion has since become one of the musical icons of the city. Paris became a major centre for jazz and still attracts jazz musicians from all around the world to its clubs and cafés.
Immediately after the War The Saint-Germain-des-Pres quarter and the nearby Saint-Michel quarter became home to many small jazz clubs, mostly found in cellars because of a lack of space; these included the Caveau des Lorientais, the Club Saint-Germain, the Rose Rouge, the Vieux-Colombier, and the most famous, Le Tabou. They introduced Parisians to the music of Claude Luter, Boris Vian, Sydney Bechet Mezz Mezzrow, and Henri Salvador. Most of the clubs closed by the early 1960s, as musical tastes shifted toward rock and roll.
The movie industry was born in Paris when Auguste and Louis Lumière projected the first motion picture for a paying audience at the Grand Café on 28 December 1895. Many of Paris' concert/dance halls were transformed into movie theatres when the media became popular beginning in the 1930s. Later, most of the largest cinemas were divided into multiple, smaller rooms. Paris' largest cinema room today is in Le Grand Rex theatre with 2,700 seats. Big multiplex movie theaters have been built since the 1990s. UGC Ciné Cité Les Halles with 27 screens, MK2 Bibliothèque with 20 screens and UGC Ciné Cité Bercy with 18 screens are among the largest.
Parisians tend to share the same movie-going trends as many of the world's global cities, with cinemas primarily dominated by Hollywood-generated film entertainment. French cinema comes a close second, with major directors (réalisateurs) such as Claude Lelouch, Jean-Luc Godard, and Luc Besson, and the more slapstick/popular genre with director Claude Zidi as an example. European and Asian films are also widely shown and appreciated. On 2 February 2000, Philippe Binant realised the first digital cinema projection in Europe, with the DLP CINEMA technology developed by Texas Instruments, in Paris.
Since the late 18th century, Paris has been famous for its restaurants and haute cuisine, food meticulously prepared and artfully presented. A luxury restaurant, La Taverne Anglaise, opened in 1786 in the arcades of the Palais-Royal by Antoine Beauvilliers; it featured an elegant dining room, an extensive menu, linen tablecloths, a large wine list and well-trained waiters; it became a model for future Paris restaurants. The restaurant Le Grand Véfour in the Palais-Royal dates from the same period. The famous Paris restaurants of the 19th century, including the Café de Paris, the Rocher de Cancale, the Café Anglais, Maison Dorée and the Café Riche, were mostly located near the theatres on the Boulevard des Italiens; they were immortalised in the novels of Balzac and Émile Zola. Several of the best-known restaurants in Paris today appeared during the Belle Epoque, including Maxim's on Rue Royale, Ledoyen in the gardens of the Champs-Élysées, and the Tour d'Argent on the Quai de la Tournelle.
Today, thanks to Paris' cosmopolitan population, every French regional cuisine and almost every national cuisine in the world can be found there; the city has more than 9,000 restaurants. The Michelin Guide has been a standard guide to French restaurants since 1900, awarding its highest award, three stars, to the best restaurants in France. In 2015, of the 29 Michelin three-star restaurants in France, nine are located in Paris. These include both restaurants which serve classical French cuisine, such as L'Ambroisie in the Place des Vosges, and those which serve non-traditional menus, such as L'Astrance, which combines French and Asian cuisines. Several of France's most famous chefs, including Pierre Gagnaire, Alain Ducasse, Yannick Alléno and Alain Passard, have three-star restaurants in Paris.
In addition to the classical restaurants, Paris has several other kinds of traditional eating places. The café arrived in Paris in the 17th century, when the beverage was first brought from Turkey, and by the 18th century Parisian cafés were centres of the city's political and cultural life. The Cafe Procope on the Left Bank dates from this period. In the 20th century, the cafés of the Left Bank, especially Café de la Rotonde and Le Dôme Café in Montparnasse and Café de Flore and Les Deux Magots on Boulevard Saint Germain, all still in business, were important meeting places for painters, writers and philosophers. A bistro is a type of eating place loosely defined as a neighbourhood restaurant with a modest decor and prices and a regular clientele and a congenial atmosphere. Its name is said to have come in 1814 from the Russian soldiers who occupied the city; "bistro" means "quickly" in Russian, and they wanted their meals served rapidly so they could get back their encampment. Real bistros are increasingly rare in Paris, due to rising costs, competition from cheaper ethnic restaurants, and different eating habits of Parisian diners. A brasserie originally was a tavern located next to a brewery, which served beer and food at any hour. Beginning with the Paris Exposition of 1867; it became a popular kind of restaurant which featured beer and other beverages served by young women in the national costume associated with the beverage, particular German costumes for beer. Now brasseries, like cafés, serve food and drinks throughout the day.
Paris has been an international capital of high fashion since the 19th century, particularly in the domain of haute couture, clothing hand-made to order for private clients. It is home of some of the largest fashion houses in the world, including Dior and Chanel, and of many well-known fashion designers, including Karl Lagerfeld, Jean-Paul Gaultier, Christophe Josse and Christian Lacroix. Paris Fashion Week, held in January and July in the Carrousel du Louvre and other city locations, is among the top four events of the international fashion calendar, along with the fashion weeks in Milan, London and New York. Paris is also the home of the world's largest cosmetics company, L'Oréal, and three of the five top global makers of luxury fashion accessories; Louis Vuitton, Hermés and Cartier.
The Paris region hosts France's highest concentration of the grandes écoles – 55 specialised centres of higher-education outside the public university structure. The prestigious public universities are usually considered grands établissements. Most of the grandes écoles were relocated to the suburbs of Paris in the 1960s and 1970s, in new campuses much larger than the old campuses within the crowded city of Paris, though the École Normale Supérieure has remained on rue d'Ulm in the 5th arrondissement. There are a high number of engineering schools, led by the Paris Institute of Technology which comprises several colleges such as École Polytechnique, École des Mines, AgroParisTech, Télécom Paris, Arts et Métiers, and École des Ponts et Chaussées. There are also many business schools, including HEC, INSEAD, ESSEC, and ESCP Europe. The administrative school such as ENA has been relocated to Strasbourg, the political science school Sciences-Po is still located in Paris' 7th arrondissement and the most prestigious university of economics and finance, Paris-Dauphine, is located in Paris' 16th. The Parisian school of journalism CELSA department of the Paris-Sorbonne University is located in Neuilly-sur-Seine. Paris is also home to several of France's most famous high-schools such as Lycée Louis-le-Grand, Lycée Henri-IV, Lycée Janson de Sailly and Lycée Condorcet. The National Institute of Sport and Physical Education, located in the 12th arrondissement, is both a physical education institute and high-level training centre for elite athletes.
The Bibliothèque nationale de France (BnF) operates public libraries in Paris, among them the François Mitterrand Library, Richelieu Library, Louvois, Opéra Library, and Arsenal Library. There are three public libraries in the 4th arrondissement. The Forney Library, in the Marais district, is dedicated to the decorative arts; the Arsenal Library occupies a former military building, and has a large collection on French literature; and the Bibliothèque historique de la ville de Paris, also in Le Marais, contains the Paris historical research service. The Sainte-Geneviève Library is in 5th arrondissement; designed by Henri Labrouste and built in the mid-1800s, it contains a rare book and manuscript division. Bibliothèque Mazarine, in the 6th arrondissement, is the oldest public library in France. The Médiathèque Musicale Mahler in the 8th arrondissement opened in 1986 and contains collections related to music. The François Mitterrand Library (nicknamed Très Grande Bibliothèque) in the 13th arrondissement was completed in 1994 to a design of Dominique Perrault and contains four glass towers.
There are several academic libraries and archives in Paris. The Sorbonne Library in the 5th arrondissement is the largest university library in Paris. In addition to the Sorbonne location, there are branches in Malesherbes, Clignancourt-Championnet, Michelet-Institut d'Art et d'Archéologie, Serpente-Maison de la Recherche, and Institut des Etudes Ibériques. Other academic libraries include Interuniversity Pharmaceutical Library, Leonardo da Vinci University Library, Paris School of Mines Library, and the René Descartes University Library.
Like the rest of France, Paris has been predominantly Roman Catholic since the early Middle Ages, though religious attendance is now low. A majority of Parisians are still nominally Roman Catholic. According to 2011 statistics, there are 106 parishes and curates in the city, plus separate parishes for Spanish, Polish and Portuguese Catholics. There are an additional 10 Eastern Orthodox parishes, and bishops for the Armenian and Ukrainian Orthodox Churches. In addition there are eighty male religious orders and 140 female religious orders in the city, as well as 110 Catholic schools with 75,000 students.
Almost all Protestant denominations are represented in Paris, with 74 evangelical churches from various denominations, including 21 parishes of the United Protestant Church of France and two parishes of the Church of Jesus Christ of the Latter-Day Saints. There are several important churches for the English-speaking community: the American Church in Paris, founded in 1814, was the first American church outside the United States; the current church was finished in 1931. The Saint George's Anglican Church in the 16th arrondissement is the principal Anglican church in the city.
During the Middle Ages, Paris was a center of Jewish learning with famous Talmudic scholars, such as Yechiel of Paris who took part in the Disputation of Paris between Christian and Jewish intellectuals. The Parisian Jewish community was victim of persecution, alternating expulsions and returns, until France became the first country in Europe to emancipate its Jewish population during the French Revolution. Although 75% of the Jewish population in France survived the Holocaust during World War II, half the city's Jewish population perished in Nazi concentration camps, while some others fled abroad. A large migration of North Africa Sephardic Jews settled Paris in the 1960s, and represent most of the Paris Jewish community today. There are currently 83 synagogues in the city; The Marais-quarter Agoudas Hakehilos Synagogue, built in 1913 by architect Hector Guimard, is a Paris landmark.
The Pagode de Vincennes Buddhist temple, near Lake Daumesnil in the Bois de Vincennes, is the former Cameroon pavilion from the 1931 Paris Colonial Exposition. It hosts several different schools of Buddhism, and does not have a single leader. It shelters the biggest Buddha statue in Europe, more than nine metres high. There are two other small temples located in the Asian community in the 13th arrondissement. A Hindu temple, dedicated to Ganesh, on Rue Pajol in the 18th arrondissement, opened in 1985.
Paris' most popular sport clubs are the association football club Paris Saint-Germain F.C. and the rugby union club Stade Français. The 80,000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the commune of Saint-Denis. It is used for football, rugby union and track and field athletics. It hosts the French national football team for friendlies and major tournaments qualifiers, annually hosts the French national rugby team's home matches of the Six Nations Championship, and hosts several important matches of the Stade Français rugby team. In addition to Paris Saint-Germain FC, the city has a number of other amateur football clubs: Paris FC, Red Star, RCF Paris and Stade Français Paris.
Paris is a major rail, highway, and air transport hub. The Syndicat des transports d'Île-de-France (STIF), formerly Syndicat des transports parisiens (STP), oversees the transit network in the region. The syndicate coordinates public transport and contracts it out to the RATP (operating 347 bus lines, the Métro, eight tramway lines, and sections of the RER), the SNCF (operating suburban rails, one tramway line and the other sections of the RER) and the Optile consortium of private operators managing 1,176 bus lines.
In addition, the Paris region is served by a light rail network of nine lines, the tramway: Line T1 runs from Asnières-Gennevilliers to Noisy-le-Sec, line T2 runs from Pont de Bezons to Porte de Versailles, line T3a runs from Pont du Garigliano to Porte de Vincennes, line T3b runs from Porte de Vincennes to Porte de la Chapelle, line T5 runs from Saint-Denis to Garges-Sarcelles, line T6 runs from Châtillon to Velizy, line T7 runs from Villejuif to Athis-Mons, line T8 runs from Saint-Denis to Épinay-sur-Seine and Villetaneuse, all of which are operated by the Régie Autonome des Transports Parisiens, and line T4 runs from Bondy RER to Aulnay-sous-Bois, which is operated by the state rail carrier SNCF. Five new light rail lines are currently in various stages of development.
Paris is a major international air transport hub with the 4th busiest airport system in the world. The city is served by three commercial international airports: Paris-Charles de Gaulle, Paris-Orly and Beauvais-Tillé. Together these three airports recorded traffic of 96.5 million passengers in 2014. There is also one general aviation airport, Paris-Le Bourget, historically the oldest Parisian airport and closest to the city centre, which is now used only for private business flights and air shows.
Orly Airport, located in the southern suburbs of Paris, replaced Le Bourget as the principal airport of Paris from the 1950s to the 1980s. Charles de Gaulle Airport, located on the edge of the northern suburbs of Paris, opened to commercial traffic in 1974 and became the busiest Parisian airport in 1993. Today it is the 4th busiest airport in the world by international traffic, and is the hub for the nation's flag carrier Air France. Beauvais-Tillé Airport, located 69 km (43 mi) north of Paris' city centre, is used by charter airlines and low-cost carriers such as Ryanair.
Paris in its early history had only the Seine and Bièvre rivers for water. From 1809, the Canal de l'Ourcq provided Paris with water from less-polluted rivers to the north-east of the capital. From 1857, the civil engineer Eugène Belgrand, under Napoleon III, oversaw the construction of a series of new aqueducts that brought water from locations all around the city to several reservoirs built atop the Capital's highest points of elevation. From then on, the new reservoir system became Paris' principal source of drinking water, and the remains of the old system, pumped into lower levels of the same reservoirs, were from then on used for the cleaning of Paris' streets. This system is still a major part of Paris' modern water-supply network. Today Paris has more than 2,400 km (1,491 mi) of underground passageways dedicated to the evacuation of Paris' liquid wastes.
Paris today has more than 421 municipal parks and gardens, covering more than 3,000 hectares and containing more than 250,000 trees. Two of Paris' oldest and most famous gardens are the Tuileries Garden, created in 1564 for the Tuileries Palace, and redone by André Le Nôtre between 1664 and 1672, and the Luxembourg Garden, for the Luxembourg Palace, built for Marie de' Medici in 1612, which today houses the French Senate. The Jardin des Plantes was the first botanical garden in Paris, created in 1626 by Louis XIII's doctor Guy de La Brosse for the cultivation of medicinal plants.
Between 1853 and 1870, the Emperor Napoleon III and the city's first director of parks and gardens, Jean-Charles Alphand, created the Bois de Boulogne, the Bois de Vincennes, Parc Montsouris and the Parc des Buttes-Chaumont, located at the four points of the compass around the city, as well as many smaller parks, squares and gardens in the Paris' quarters. Since 1977, the city has created 166 new parks, most notably the Parc de la Villette (1987), Parc André Citroën (1992), and Parc de Bercy (1997). One of the newest parks, the Promenade des Berges de la Seine (2013), built on a former highway on the Left Bank of the Seine between the Pont de l'Alma and the Musée d'Orsay, has floating gardens and gives a view of the city's landmarks.
In Paris' Roman era, its main cemetery was located to the outskirts of the Left Bank settlement, but this changed with the rise of Catholicism, where most every inner-city church had adjoining burial grounds for use by their parishes. With Paris' growth many of these, particularly the city's largest cemetery, les Innocents, were filled to overflowing, creating quite unsanitary conditions for the capital. When inner-city burials were condemned from 1786, the contents of all Paris' parish cemeteries were transferred to a renovated section of Paris' stone mines outside the "Porte d'Enfer" city gate, today place Denfert-Rochereau in the 14th arrondissement. The process of moving bones from Cimetière des Innocents to the catacombs took place between 1786 and 1814; part of the network of tunnels and remains can be visited today on the official tour of the catacombs.
After a tentative creation of several smaller suburban cemeteries, the Prefect Nicholas Frochot under Napoleon Bonaparte provided a more definitive solution in the creation of three massive Parisian cemeteries outside the city limits. Open from 1804, these were the cemeteries of Père Lachaise, Montmartre, Montparnasse, and later Passy; these cemeteries became inner-city once again when Paris annexed all neighbouring communes to the inside of its much larger ring of suburban fortifications in 1860. New suburban cemeteries were created in the early 20th century: The largest of these are the Cimetière parisien de Saint-Ouen, the Cimetière parisien de Pantin (also known as Cimetière parisien de Pantin-Bobigny, the Cimetière parisien d'Ivry, and the Cimetière parisien de Bagneux).[citation needed] Some of the most famous people in the world are buried in Parisian cemeteries.
Health care and emergency medical service in the city of Paris and its suburbs are provided by the Assistance publique - Hôpitaux de Paris (AP-HP), a public hospital system that employs more than 90,000 people (including practitioners, support personnel, and administrators) in 44 hospitals. It is the largest hospital system in Europe. It provides health care, teaching, research, prevention, education and emergency medical service in 52 branches of medicine. The hospitals receive more than 5.8 million annual patient visits.
Paris and its close suburbs is home to numerous newspapers, magazines and publications including Le Monde, Le Figaro, Libération, Le Nouvel Observateur, Le Canard enchaîné, La Croix, Pariscope, Le Parisien (in Saint-Ouen), Les Échos, Paris Match (Neuilly-sur-Seine), Réseaux & Télécoms, Reuters France, and L'Officiel des Spectacles. France's two most prestigious newspapers, Le Monde and Le Figaro, are the centrepieces of the Parisian publishing industry. Agence France-Presse is France's oldest, and one of the world's oldest, continually operating news agencies. AFP, as it is colloquially abbreviated, maintains its headquarters in Paris, as it has since 1835. France 24 is a television news channel owned and operated by the French government, and is based in Paris. Another news agency is France Diplomatie, owned and operated by the Ministry of Foreign and European Affairs, and pertains solely to diplomatic news and occurrences.
The most-viewed network in France, TF1, is in nearby Boulogne-Billancourt; France 2, France 3, Canal+, France 5, M6 (Neuilly-sur-Seine), Arte, D8, W9, NT1, NRJ 12, La Chaîne parlementaire, France 4, BFM TV, and Gulli are other stations located in and around the capital. Radio France, France's public radio broadcaster, and its various channels, is headquartered in Paris' 16th arrondissement. Radio France Internationale, another public broadcaster is also based in the city. Paris also holds the headquarters of the La Poste, France's national postal carrier.
Apollo (Attic, Ionic, and Homeric Greek: Ἀπόλλων, Apollōn (GEN Ἀπόλλωνος); Doric: Ἀπέλλων, Apellōn; Arcadocypriot: Ἀπείλων, Apeilōn; Aeolic: Ἄπλουν, Aploun; Latin: Apollō) is one of the most important and complex of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The ideal of the kouros (a beardless, athletic youth), Apollo has been variously recognized as a god of music, truth and prophecy, healing, the sun and light, plague, poetry, and more. Apollo is the son of Zeus and Leto, and has a twin sister, the chaste huntress Artemis. Apollo is known in Greek-influenced Etruscan mythology as Apulu.
As the patron of Delphi (Pythian Apollo), Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was also seen as a god who could bring ill-health and deadly plague. Amongst the god's custodial charges, Apollo became associated with dominion over colonists, and as the patron defender of herds and flocks. As the leader of the Muses (Apollon Musegetes) and director of their choir, Apollo functioned as the patron god of music and poetry. Hermes created the lyre for him, and the instrument became a common attribute of Apollo. Hymns sung to Apollo were called paeans.
In Hellenistic times, especially during the 3rd century BCE, as Apollo Helios he became identified among Greeks with Helios, Titan god of the sun, and his sister Artemis similarly equated with Selene, Titan goddess of the moon. In Latin texts, on the other hand, Joseph Fontenrose declared himself unable to find any conflation of Apollo with Sol among the Augustan poets of the 1st century, not even in the conjurations of Aeneas and Latinus in Aeneid XII (161–215). Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 3rd century CE.
The etymology of the name is uncertain. The spelling Ἀπόλλων (pronounced [a.pól.lɔːn] in Classical Attic) had almost superseded all other forms by the beginning of the common era, but the Doric form Apellon (Ἀπέλλων), is more archaic, derived from an earlier Ἀπέλjων. It probably is a cognate to the Doric month Apellaios (Ἀπελλαῖος), and the offerings apellaia (ἀπελλαῖα) at the initiation of the young men during the family-festival apellai (ἀπέλλαι). According to some scholars the words are derived from the Doric word apella (ἀπέλλα), which originally meant "wall," "fence for animals" and later "assembly within the limits of the square." Apella (Ἀπέλλα) is the name of the popular assembly in Sparta, corresponding to the ecclesia (ἐκκλησία). 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 ἀπόλλυμι (apollymi), "to destroy". Plato in Cratylus connects the name with ἀπόλυσις (apolysis), "redemption", with ἀπόλουσις (apolousis), "purification", and with ἁπλοῦν ([h]aploun), "simple", in particular in reference to the Thessalian form of the name, Ἄπλουν, and finally with Ἀειβάλλων (aeiballon), "ever-shooting". Hesychius connects the name Apollo with the Doric ἀπέλλα (apella), which means "assembly", so that Apollo would be the god of political life, and he also gives the explanation σηκός (sekos), "fold", in which case Apollo would be the god of flocks and herds. In the Ancient Macedonian language πέλλα (pella) means "stone," and some toponyms may be derived from this word: Πέλλα (Pella, the capital of Ancient Macedonia) and Πελλήνη (Pellēnē/Pallene).
A number of non-Greek etymologies have been suggested for the name, The Hittite form Apaliunas (dx-ap-pa-li-u-na-aš) is attested in the Manapa-Tarhunta letter, perhaps related to Hurrian (and certainly the Etruscan) Aplu, a god of plague, in turn likely from Akkadian Aplu Enlil meaning simply "the son of Enlil", a title that was given to the god Nergal, who was linked to Shamash, Babylonian god of the sun. The role of Apollo as god of plague is evident in the invocation of Apollo Smintheus ("mouse Apollo") by Chryses, the Trojan priest of Apollo, with the purpose of sending a plague against the Greeks (the reasoning behind a god of the plague becoming a god of healing is of course apotropaic, meaning that the god responsible for bringing the plague must be appeased in order to remove the plague).
As sun-god and god of light, Apollo was also known by the epithets Aegletes (/əˈɡliːtiːz/ ə-GLEE-teez; Αἰγλήτης, Aiglētēs, from αἴγλη, "light of the sun"), Helius (/ˈhiːliəs/ HEE-lee-əs; Ἥλιος, Helios, literally "sun"), Phanaeus (/fəˈniːəs/ fə-NEE-əs; Φαναῖος, Phanaios, literally "giving or bringing light"), and Lyceus (/laɪˈsiːəs/ ly-SEE-əs; Λύκειος, Lykeios, from Proto-Greek *λύκη, "light"). The meaning of the epithet "Lyceus" later became associated with Apollo's mother Leto, who was the patron goddess of Lycia (Λυκία) and who was identified with the wolf (λύκος), earning him the epithets Lycegenes (/laɪˈsɛdʒəniːz/ ly-SEJ-ə-neez; Λυκηγενής, Lukēgenēs, literally "born of a wolf" or "born of Lycia") and Lycoctonus (/laɪˈkɒktənəs/ ly-KOK-tə-nəs; Λυκοκτόνος, Lykoktonos, from λύκος, "wolf", and κτείνειν, "to kill"). As god of the sun, Apollo was called Sol (/ˈsɒl/ SOL, literally "sun" in Latin) by the Romans.
Apollo was worshipped as Actiacus (/ækˈtaɪ.əkəs/ ak-TY-ə-kəs; Ἄκτιακός, Aktiakos, literally "Actian"), Delphinius (/dɛlˈfɪniəs/ del-FIN-ee-əs; Δελφίνιος, Delphinios, literally "Delphic"), and Pythius (/ˈpɪθiəs/ PITH-ee-əs; Πύθιος, Puthios, from Πυθώ, Pythō, the area around Delphi), after Actium (Ἄκτιον) and Delphi (Δελφοί) respectively, two of his principal places of worship. An etiology in the Homeric hymns associated the epithet "Delphinius" with dolphins. He was worshipped as Acraephius (/əˈkriːfiəs/ ə-KREE-fee-əs; Ἀκραιφιος,[clarification needed] Akraiphios, literally "Acraephian") or Acraephiaeus (/əˌkriːfiˈiːəs/ ə-KREE-fee-EE-əs; Ἀκραιφιαίος, Akraiphiaios, literally "Acraephian") in the Boeotian town of Acraephia (Ἀκραιφία), reputedly founded by his son Acraepheus; and as Smintheus (/ˈsmɪnθjuːs/ SMIN-thews; Σμινθεύς, Smintheus, "Sminthian"—that is, "of the town of Sminthos or Sminthe") near the Troad town of Hamaxitus. The epithet "Smintheus" has historically been confused with σμίνθος, "mouse", in association with Apollo's role as a god of disease. For this he was also known as Parnopius (/pɑːrˈnoʊpiəs/ par-NOH-pee-əs; Παρνόπιος, Parnopios, from πάρνοψ, "locust") and to the Romans as Culicarius (/ˌkjuːlᵻˈkæriəs/ KEW-li-KARR-ee-əs; from Latin culicārius, "of midges").
In Apollo's role as a healer, his appellations included Acesius (/əˈsiːʒəs/ ə-SEE-zhəs; Ἀκέσιος, Akesios, from ἄκεσις, "healing"), Acestor (/əˈsɛstər/ ə-SES-tər; Ἀκέστωρ, Akestōr, literally "healer"), Paean (/ˈpiːən/ PEE-ən; Παιάν, Paiān, from παίειν, "to touch"),[citation needed] and Iatrus (/aɪˈætrəs/ eye-AT-rəs; Ἰατρός, Iātros, literally "physician"). Acesius was the epithet of Apollo worshipped in Elis, where he had a temple in the agora. The Romans referred to Apollo as Medicus (/ˈmɛdᵻkəs/ MED-i-kəs; literally "physician" in Latin) in this respect. A temple was dedicated to Apollo Medicus at Rome, probably next to the temple of Bellona.
As a protector and founder, Apollo had the epithets Alexicacus (/əˌlɛksᵻˈkeɪkəs/ ə-LEK-si-KAY-kəs; Ἀλεξίκακος, Alexikakos, literally "warding off evil"), Apotropaeus (/əˌpɒtrəˈpiːəs/ ə-POT-rə-PEE-əs; Ἀποτρόπαιος, Apotropaios, from ἀποτρέπειν, "to avert"), and Epicurius (/ˌɛpᵻˈkjʊriəs/ EP-i-KEWR-ee-əs; Ἐπικούριος, Epikourios, from ἐπικουρέειν, "to aid"), and Archegetes (/ɑːrˈkɛdʒətiːz/ ar-KEJ-ə-teez; Ἀρχηγέτης, Arkhēgetēs, literally "founder"), Clarius (/ˈklæriəs/ KLARR-ee-əs; Κλάριος, Klārios, from Doric κλάρος, "allotted lot"), and Genetor (/ˈdʒɛnᵻtər/ JEN-i-tər; Γενέτωρ, Genetōr, literally "ancestor"). To the Romans, he was known in this capacity as Averruncus (/ˌævəˈrʌŋkəs/ AV-ər-RUNG-kəs; from Latin āverruncare, "to avert"). He was also called Agyieus (/əˈdʒaɪ.ᵻjuːs/ ə-GWEE-ews; Ἀγυιεύς, Aguīeus, from ἄγυια, "street") for his role in protecting roads and homes; and Nomius (/ˈnoʊmiəs/ NOH-mee-əs; Νόμιος, Nomios, literally "pastoral") and Nymphegetes (/nɪmˈfɛdʒᵻtiːz/ nim-FEJ-i-teez; Νυμφηγέτης, Numphēgetēs, from Νύμφη, "Nymph", and ἡγέτης, "leader") for his role as a protector of shepherds and pastoral life.
In his role as god of prophecy and truth, Apollo had the epithets Manticus (/ˈmæntᵻkəs/ MAN-ti-kəs; Μαντικός, Mantikos, literally "prophetic"), Leschenorius (/ˌlɛskᵻˈnɔəriəs/ LES-ki-NOHR-ee-əs; Λεσχηνόριος, Leskhēnorios, from λεσχήνωρ, "converser"), and Loxias (/ˈlɒksiəs/ LOK-see-əs; Λοξίας, Loxias, from λέγειν, "to say"). The epithet "Loxias" has historically been associated with λοξός, "ambiguous". In this respect, the Romans called him Coelispex (/ˈsɛlᵻspɛks/ SEL-i-speks; from Latin coelum, "sky", and specere, "to look at"). The epithet Iatromantis (/aɪˌætrəˈmæntɪs/ eye-AT-rə-MAN-tis; Ἰατρομάντις, Iātromantis, from ἰατρός, "physician", and μάντις, "prophet") refers to both his role as a god of healing and of prophecy. As god of music and arts, Apollo had the epithet Musagetes (/mjuːˈsædʒᵻtiːz/ mew-SAJ-i-teez; Doric Μουσαγέτας, Mousāgetās) or Musegetes (/mjuːˈsɛdʒᵻtiːz/ mew-SEJ-i-teez; Μουσηγέτης, Mousēgetēs, from Μούσα, "Muse", and ἡγέτης, "leader").
As a god of archery, Apollo was known as Aphetor (/əˈfiːtər/ ə-FEE-tər; Ἀφήτωρ, Aphētōr, from ἀφίημι, "to let loose") or Aphetorus (/əˈfɛtərəs/ ə-FET-ər-əs; Ἀφητόρος, Aphētoros, of the same origin), Argyrotoxus (/ˌɑːrdʒᵻrəˈtɒksəs/ AR-ji-rə-TOK-səs; Ἀργυρότοξος, Argyrotoxos, literally "with silver bow"), Hecaërgus (/ˌhɛkiˈɜːrɡəs/ HEK-ee-UR-gəs; Ἑκάεργος, Hekaergos, literally "far-shooting"), and Hecebolus (/hᵻˈsɛbələs/ hi-SEB-ə-ləs; Ἑκηβόλος, Hekēbolos, literally "far-shooting"). The Romans referred to Apollo as Articenens (/ɑːrˈtɪsᵻnənz/ ar-TISS-i-nənz; "bow-carrying"). Apollo was called Ismenius (/ɪzˈmiːniəs/ iz-MEE-nee-əs; Ἰσμηνιός, Ismēnios, literally "of Ismenus") after Ismenus, the son of Amphion and Niobe, whom he struck with an arrow.
The cult centers of Apollo in Greece, Delphi and Delos, date from the 8th century BCE. The Delos sanctuary was primarily dedicated to Artemis, Apollo's twin sister. At Delphi, Apollo was venerated as the slayer of Pytho. For the Greeks, Apollo was all the Gods in one and through the centuries he acquired different functions which could originate from different gods. 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."
From his eastern origin Apollo brought the art of inspection of "symbols and omina" (σημεία και τέρατα : semeia kai terata), and of the observation of the omens of the days. The inspiration oracular-cult was probably introduced from Anatolia. The ritualism belonged to Apollo from the beginning. The Greeks created the legalism, the supervision of the orders of the gods, and the demand for moderation and harmony. Apollo became the god of shining youth, the protector of music, spiritual-life, moderation and perceptible order. The improvement of the old Anatolian god, and his elevation to an intellectual sphere, may be considered an achievement of the Greek people.
The function of Apollo as a "healer" is connected with Paean (Παιών-Παιήων), the physician of the Gods in the Iliad, who seems to come from a more primitive religion. Paeοn is probably connected with the Mycenean pa-ja-wo-ne (Linear B: 𐀞𐀊𐀍𐀚), but this is not certain. He did not have a separate cult, but he was the personification of the holy magic-song sung by the magicians that was supposed to cure disease. Later the Greeks knew the original meaning of the relevant song "paean" (παιάν). The magicians were also called "seer-doctors" (ἰατρομάντεις), and they used an ecstatic prophetic art which was used exactly by the god Apollo at the oracles.
Some common epithets of Apollo as a healer are "paion" (παιών, literally "healer" or "helper") "epikourios" (ἐπικουρώ, "help"), "oulios" (οὐλή, "healed wound", also a "scar" ) and "loimios" (λοιμός, "plague"). In classical times, his strong function in popular religion was to keep away evil, and was therefore called "apotropaios" (ἀποτρέπω, "divert", "deter", "avert") and "alexikakos" (from v. ἀλέξω + n. κακόν, "defend from evil"). In later writers, the word, usually spelled "Paean", becomes a mere epithet of Apollo in his capacity as a god of healing.
Homer illustrated Paeon the god, and the song both of apotropaic thanksgiving or triumph.[citation needed] Such songs were originally addressed to Apollo, and afterwards to other gods: to Dionysus, to Apollo Helios, to Apollo's son Asclepius the healer. About the 4th century BCE, the paean became merely a formula of adulation; its object was either to implore protection against disease and misfortune, or to offer thanks after such protection had been rendered. It was in this way that Apollo had become recognised 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.
The connection with Dorians and their initiation festival apellai[clarification needed] is reinforced by the month Apellaios in northwest Greek calendars, but 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). The "Homeric hymn" represents Apollo as a Northern intruder. His arrival must have occurred during the "Dark Ages" that followed the destruction of the Mycenaean civilization, and his conflict with Gaia (Mother Earth) was represented by the legend of his slaying her daughter the serpent Python.
The earth deity had power over the ghostly world, and it is believed that she was the deity behind the oracle. The older tales mentioned two dragons who were perhaps intentionally conflated. A female dragon named Delphyne (δελφύς, "womb"), who is obviously connected with Delphi and Apollo Delphinios, and a male serpent Typhon (τύφειν, "to smoke"), the adversary of Zeus in the Titanomachy, who the narrators confused with Python. Python was the good daemon (ἀγαθὸς δαίμων) of the temple as it appears in Minoan religion, but she was represented as a dragon, as often happens in Northern European folklore as well as in the East.
Apollo and his sister Artemis can bring death with their arrows. The conception that diseases and death come from invisible shots sent by supernatural beings, or magicians is common in Germanic and Norse mythology. In Greek mythology Artemis was the leader (ἡγεμών, "hegemon") of the nymphs, who had similar functions with the Nordic Elves. The "elf-shot" originally indicated disease or death attributed to the elves, but it was later attested denoting stone arrow-heads which were used by witches to harm people, and also for healing rituals.
It seems an oracular cult existed in Delphi from the Mycenaean ages. In historical times, the priests of Delphi were called Labryaden, "the double-axe men", which indicates Minoan origin. The double-axe, labrys, was the holy symbol of the Cretan labyrinth. The Homeric hymn adds that Apollo appeared as a dolphin and carried Cretan priests to Delphi, where they evidently transferred their religious practices. Apollo Delphinios was a sea-god especially worshiped in Crete and in the islands, and his name indicates his connection with Delphi and the holy serpent Delphyne ("womb").[citation needed] 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 is accompanied by the "Mister of the animals", a male god of hunting who had the bow as his attribute. His original name is unknown, but it seems that he was absorbed by the more popular Apollo, who stood by the virgin "Mistress of the Animals", becoming her brother.
The old oracles in Delphi seem to be connected with a local tradition of the priesthood, and there is not clear evidence that a kind of inspiration-prophecy existed in the temple. This led some scholars to the conclusion that Pythia carried on the rituals in a consistent procedure through many centuries, according to the local tradition. In that regard, the mythical seeress Sibyl of Anatolian origin, with her ecstatic art, looks unrelated to the oracle itself. However, the Greek tradition is referring to the existence of vapours and chewing of laurel-leaves, which seem to be confirmed by recent studies.
Plato describes the priestesses of Delphi and Dodona as frenzied women, obsessed by "mania" (μανία, "frenzy"), a Greek word he connected with mantis (μάντις, "prophet"). Frenzied women like Sibyls from whose lips the god speaks are recorded in the Near East as Mari in the second millennium BC. Although Crete had contacts with Mari from 2000 BC, there is no evidence that the ecstatic prophetic art existed during the Minoan and Mycenean ages. It is more probable that this art was introduced later from Anatolia and regenerated an existing oracular cult that was local to Delphi and dormant in several areas of Greece.
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 existed some of the oldest oracular shrines. Omens, symbols, purifications, and exorcisms appear in old Assyro-Babylonian texts, and these rituals were spread into the empire of the Hittites. In a Hittite text is mentioned that the king invited a Babylonian priestess for a certain "purification".
A similar story is mentioned by Plutarch. He writes that the Cretan seer Epimenides purified Athens after the pollution brought by the Alcmeonidae, and that the seer's expertise in sacrifices and reform of funeral practices were of great help to Solon in his reform of the Athenian state. The story indicates that Epimenides was probably heir to the shamanic religions of Asia, and proves, together with the Homeric hymn, that Crete had a resisting religion up to historical times. It seems that these rituals were dormant in Greece, and they were reinforced when the Greeks migrated to Anatolia.
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. The Greeks gave to him the name ἀγυιεύς 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 (δεινὸς θεός) who brings death and disease with his arrows, but who can also heal, possessing a magic art that separates him from the other Greek gods. In Iliad, his priest prays to Apollo Smintheus, the mouse god who retains an older agricultural function as the protector from field rats. All these functions, including the function of the healer-god Paean, who seems to have Mycenean origin, are fused in the cult of Apollo.
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. 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 Clarus 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 - 61) tried to revive the Delphic oracle, but failed."
A lot of temples dedicated to Apollo were built in Greece and in the Greek colonies, and 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, don't belong to any Greek order. It seems that the first peripteral temples were rectangle wooden structures. The different wooden elements were considered divine, and their forms were preserved in the marble or stone elements of the temples of Doric order. The Greeks used standard types, because they believed that the world of objects was a series of typical forms which could be represented in several instances. The temples should be canonic, and the architects were trying to achieve the esthetic perfection. From the earliest times there were certain rules strictly observed in rectangular peripteral and prostyle buildings. The first buildings were narrow 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.
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, nine yards (8 m) long, of amber. Mythographers agree that Artemis was born first and then assisted with the birth of Apollo, or that Artemis was born one day before Apollo, on the island of Ortygia and that she helped Leto cross the sea to Delos the next day to give birth to Apollo. Apollo was born on the seventh day (ἑβδομαγενής, 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.
Four days after his birth, Apollo killed the chthonic dragon Python, which lived in Delphi beside the Castalian Spring. This was the spring which emitted vapors that caused the oracle at Delphi to give her prophecies. Hera sent the serpent to hunt Leto to her death across the world. To protect his mother, Apollo begged Hephaestus for a bow and arrows. After receiving them, Apollo cornered Python in the sacred cave at Delphi. Apollo killed Python but had to be punished for it, since Python was a child of Gaia.
When Zeus struck down Apollo's son Asclepius with a lightning bolt for resurrecting Hippolytus from the dead (transgressing Themis by stealing Hades's subjects), Apollo in revenge killed the Cyclopes, who had fashioned the bolt for Zeus. Apollo would have been banished to Tartarus forever for this, but was instead sentenced to one year of hard labor, due to the intercession of his mother, Leto. During this time he served as shepherd for King Admetus of Pherae in Thessaly. Admetus treated Apollo well, and, in return, the god conferred great benefits on Admetus.
Daphne was a nymph, daughter of the river god Peneus, who had scorned Apollo. The myth explains the connection of Apollo with δάφνη (daphnē), the laurel whose leaves his priestess employed at Delphi. In Ovid's Metamorphoses, Phoebus Apollo chaffs Cupid for toying with a weapon more suited to a man, whereupon Cupid wounds him with a golden dart; simultaneously, however, Cupid shoots a leaden arrow into Daphne, causing her to be repulsed by Apollo. Following a spirited chase by Apollo, Daphne prays to her father, Peneus, for help, and he changes her into the laurel tree, sacred to Apollo.
Leucothea was daughter of Orchamus and sister of Clytia. She fell in love with Apollo who disguised himself as Leucothea's mother to gain entrance to her chambers. Clytia, jealous of her sister because she wanted Apollo for herself, told Orchamus the truth, betraying her sister's trust and confidence in her. Enraged, Orchamus ordered Leucothea to be buried alive. Apollo refused to forgive Clytia for betraying his beloved, and a grieving Clytia wilted and slowly died. Apollo changed her into an incense plant, either heliotrope or sunflower, which follows the sun every day.
Coronis, was daughter of Phlegyas, King of the Lapiths. Pregnant with Asclepius, Coronis fell in love with Ischys, son of Elatus. A crow informed Apollo of the affair. When first informed he disbelieved the crow and turned all crows black (where they were previously white) as a punishment for spreading untruths. When he found out the truth he sent his sister, Artemis, to kill Coronis (in other stories, Apollo himself had killed Coronis). As a result, he also made the crow sacred and gave them the task of announcing important deaths. Apollo rescued the baby and gave it to the centaur Chiron to raise. Phlegyas was irate after the death of his daughter and burned the Temple of Apollo at Delphi. Apollo then killed him for what he did.
Hyacinth or Hyacinthus was one of Apollo's male lovers. He was a Spartan prince, beautiful and athletic. The pair was practicing throwing the discus when a discus thrown by Apollo was blown off course by the jealous Zephyrus and struck Hyacinthus in the head, killing him instantly. Apollo is said to be filled with grief: out of Hyacinthus' blood, Apollo created a flower named after him as a memorial to his death, and his tears stained the flower petals with the interjection αἰαῖ, meaning alas. The Festival of Hyacinthus was a celebration of Sparta.
Apollo and the Furies argue about whether the matricide was justified; Apollo holds that the bond of marriage is sacred and Orestes was avenging his father, whereas the Erinyes say that the bond of blood between mother and son is more meaningful than the bond of marriage. They invade his temple, and he says that the matter should be brought before Athena. Apollo promises to protect Orestes, as Orestes has become Apollo's supplicant. Apollo advocates Orestes at the trial, and ultimately Athena rules in favor of Apollo.
Once Pan had the audacity to compare his music with that of Apollo, and to challenge Apollo, the god of the kithara, to a trial of skill. Tmolus, the mountain-god, 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. Tmolus at once awarded the victory to Apollo, and all but Midas agreed with the judgment. He dissented and questioned the justice of the award. Apollo would not suffer such a depraved pair of ears any longer, and caused them to become the ears of a donkey.
After they each performed, both were deemed equal until Apollo decreed they play and sing at the same time. As Apollo played the lyre, this was easy to do. Marsyas could not do this, as he only knew how to use the flute and could not sing at the same time. Apollo was declared the winner because of this. Apollo flayed Marsyas alive in a cave near Celaenae in Phrygia for his hubris to challenge a god. He then nailed Marsyas' shaggy skin to a nearby pine-tree. Marsyas' blood turned into the river Marsyas.
On the occasion of a pestilence in the 430s BCE, Apollo's first temple at Rome was established in the Flaminian fields, replacing an older cult site there known as the "Apollinare". During the Second Punic War in 212 BCE, the Ludi Apollinares ("Apollonian Games") were instituted in his honor, on the instructions of a prophecy attributed to one Marcius. In the time of Augustus, who considered himself under the special protection of Apollo and was even said to be his son, his worship developed and he became one of the chief gods of Rome.
As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology).
In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.
The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos. Finally Praxiteles seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization.
In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms (ideai, "ideas"). The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words oida (οἶδα, "(I) know") and eidos (εἶδος, "species") have the same root as the word idea (ἰδέα), indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.
Kouros (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").
In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the Sacred gate Kouros which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named Daedalus, and in his statues the limbs were freed from the body, giving the impression that the statues could move. It is considered that he created also the New York kouros, which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.
The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment. These free-standing statues were usually marble, but also the form rendered in limestone, bronze, ivory and terracotta.
The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios, Boeotia alone. The last stage in the development of the Kouros type is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus, the harbour of Athens. The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler, and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.
In the next century which is the beginning of the Classical period, it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. The famous Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.
Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.
These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and fro a busy battlefield. The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.
Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by the Greek sculptor Leochares, made between 350 and 325 BCE.

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