text:
Where Do You Go To (My Lovely)?
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"Where Do You Go To (My Lovely)?"
Single by Peter Sarstedt
from the album Peter Sarstedt
B-side
"Morning Mountain"
Released
January 1969 (1969-01)
Format
7"
Genre
Folk
pop
waltz
Length
4:42
Label
United Artists
Songwriter(s)
Peter Sarstedt
Producer(s)
Ray Singer
Peter Sarstedt singles chronology
"I Am a Cathedral"
(1968) "Where Do You Go To (My Lovely)?"
(1969) "Frozen Orange Juice"
(1969)
"Where Do You Go To (My Lovely)?" is a song by the British singer-songwriter Peter Sarstedt. Its recording was produced by Ray Singer, engineered by John Mackswith at Lansdowne Recording Studios and released in 1969. It was a number-one 1 hit in the UK Singles Chart for four weeks in 1969,[1] and was awarded the 1969 Ivor Novello Award for Best Song Musically and Lyrically.[2] In the United States, the record reached No. 61 on the Cash Box Top 100 Singles. The single also peaked at No. 70 on the Billboard Hot 100 that May.
The music has been described as "a faux European waltz tune"[3] and the arrangement is a very simple one of strummed acoustic guitar and bass guitar, with brief bursts of French-style accordion at the start and the end. The arranger and conductor was Ian Green.[4]
Contents
1 Lyrics
2 Inspiration
3 Reception
4 Sequel
5 References
Lyrics[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2014) (Learn how and when to remove this template message)
The song is about a fictional girl named Marie-Claire who grows up on the poverty-stricken backstreets of Naples, becomes a member of the jet set, and goes on to live in Paris. The lyrics describe her from the perspective of a childhood friend; it is left unclear whether they have remained close. The rhetorical question of the title suggests that her glamorous lifestyle might not have brought Marie-Claire happiness or contentment.
Even though Sarstedt himself was not French, the song benefited from the contemporary awareness in Britain of such French and Belgian singers as Serge Gainsbourg and Jacques Brel (Belgium-born of Flemish descent).
The lyrics contain a large number of contemporary and other references:
Marlene Dietrich: German American actress and singer
Zizi Jeanmaire: French ballerina
Pierre Balmain: French designer of elegant fashions
Boulevard Saint-Michel: street in the Latin Quarter of Paris
The Rolling Stones: popular British rock and roll band
Sacha Distel: French singer and musician
Sorbonne: University of Paris
Picasso: Spanish pioneer of modern art
Juan-les-Pins: fashionable beach resort on the French Riviera
Topless swimsuit: first conceived by Austrian-American fashion designer Rudi Gernreich in 1964
Saint Moritz: fashionable ski resort in the Engadin, Swiss Alps
Napoleon brandy: a blended brandy in which the youngest brandy of the blend has been aged for at least six years
Aga Khan: world-travelling Islamic leader and racehorse owner
The version on the album Peter Sarstedt is longer than the radio edit version released as a single, having extra stanzas beginning "You go to the embassy parties..." and "You're in between twenty and thirty...".
Inspiration[edit]
It is often suspected that the name Marie-Claire is inspired by Marie Claire magazine, a women's fashion weekly that began in 1937 in France. One theory says that the song is about the Italian actress Sophia Loren, who was abandoned by her father and had a poverty-stricken life in Naples. Another theory has the song being inspired by Danish singer and actress Nina van Pallandt.
According to Alan Cooper, "Sarstedt insisted it was not written with actress Sophia Loren in mind. 'Yes, it's a portrait of a poor-born girl who becomes a member of the European jet-set. And yes, there's reference to her growing up on the 'back streets of Naples', so I can see why people may think it was written with Sophia Loren in mind. But that's just a coincidence. I really wasn't thinking of anyone specific.'"[5]
The song was written in Copenhagen.[6][7]
In 2009, Sarstedt spoke to a gossip columnist for the Daily Express. He admitted he had lied about the song being about a socialite who died in a fire. He said that the song was about his girlfriend at the time, whom he later married and then divorced. According to Mark Steyn, "Anita is now a dentist in Copenhagen. Peter Sarstedt has spent 40 years singing about wanting to look inside her head. And for most of that time Anita has made a living by looking inside yours."[8]
Reception[edit]
The song was a hit far exceeding Sarstedt's other work, although he is not a one-hit wonder. In 1998 he was earning £60,000 annually in royalties from it.[9]
DJ John Peel repeatedly stated that the song was one of his least favourites. On his show on BFBS radio on 1 July 1989, he said: 'It's a terrible, smug, self-satisfied, hideous record. Really have hated it ever since I first heard it'.[citation needed]
The song was used as a soundtrack in Wes Anderson's 2007 film The Darjeeling Limited, and in Jennifer Saunders' 2016 film Absolutely Fabulous: The Movie.
Sequel[edit]
In 1997 Sarstedt recorded a sequel, "The Last of the Breed (Lovely 2)" on his CD England's Lane.[10] This picks up the story of Marie Claire twenty years on, living now in London. It names more people and places, including Belgravia, Ballets Russes, Cape Town, Claridge's, Gstaad, John Galliano, Harrods, Jerusalem, Long Island, Milan, Rudolf Nureyev, Palm Beach, Rio de Janeiro, and Isabella Rossellini.[11] In recent years,[when?] Sarstedt and a co-writer were working on a further sequel, "Farewell Marie-Claire", in which the story was brought to a conclusion. The song was to feature the same waltz feel as the original. But Sarstedt's retirement from the music industry meant that the track was abandoned.[citation needed]
References[edit]
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. pp. 229–30. ISBN 1-904994-10-5.
Jump up ^ Lister, David (27 May 1994). "Pop ballads bite back in lyrical fashion". The Independent. Retrieved 26 June 2017.
Jump up ^ Eder, Bruce. "Peter Sarstedt: biography". Allmusic. Retrieved 7 October 2012.
Jump up ^ "Record Details". 45cat. Retrieved 26 June 2017.
Jump up ^ "60's chart topper Peter Sarstedt visits the KZN Midlands". Treeroutes.co.za. Archived from the original on 2014-07-22. Retrieved 2014-03-26.
Jump up ^ Confirmation of this can be found on the CD cover of The Best of Peter Sarstedt, EMI, nr. 8297622, Australian CD.
Jump up ^ "One of those songs by Sarstedt". Sydney Morning Herald. 27 June 1982. Retrieved 2014-05-11.
Jump up ^ Steyn, Mark. "Where Do You Go To My Lovely". Steyn Online. Mark Steyn. Retrieved 10 January 2017.
Jump up ^ Murphy, Peter (27 May 1998). "So Where Did You Go To, My Lovely?". Hot Press. Dublin. Retrieved 2 September 2016.
Jump up ^ England's Lane released as Round Tower RTM CD89
Jump up ^ "Untitled" (PDF). Archived from the original (PDF) on 2 May 2006. Retrieved 26 June 2017.

hide
v
t
e
Ivor Novello Awards – Best Song Musically and Lyrically
1960s
"She's Leaving Home" (1968)
1970s
"Where Do You Go To (My Lovely)?" (1970)
"Something" (1971)
"Don't Let It Die" (1972)
"Without You" (1973)
"Daniel" (1974)
"Streets of London"* (1975)
"Don't Cry for Me Argentina" (1978)
"Baker Street" (1979)
1980s
"The Logical Song" (1980)
"Woman in Love" (1981)
"Memory" (1982)
"Have You Ever Been in Love" (1983)
"Every Breath You Take" (1984)
"Against All Odds" (1985)
"Nikita" (1986)
"Don't Give Up" (1987)
"Something Inside So Strong" (1988)
"They Dance Alone" (1989)
1990s
"The Living Years" (1990)
"Sacrifice" (1991)
"The Whole of the Moon" (1992)
"Why" (1993)
"If I Ever Lose My Faith in You" (1994)
"Think Twice" (1995)
"Common People" (1996)
"Too Much Love Will Kill You" (1997)
"Paranoid Android" (1998)
"Believe" (1999)
2000s
"Strong" (2000)
"Babylon" (2001)
"Walk On" (2002)
"The Other Side" (2003)
"Leave Right Now" (2004)
"Dry Your Eyes" (2005)
"Suddenly I See" (2006)
"Elusive" (2007)
"Love Is a Losing Game" (2008)
"One Day Like This" (2009)
2010s
"The Fear" (2010)
"Becoming a Jackal" (2011)
"The A Team" (2012)
"Next to Me" (2013)
"Strong" (2014)
"Take Me to Church" (2015)
"Wasn't Expecting That" (2016)
"Black Man in a White World" (2017)
*Awarded as The Best Song
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List of The Jungle Book characters
From Wikipedia, the free encyclopedia
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Mowgli attacking Shere Khan: detail from a clay bas-relief by John Lockwood Kipling, father of Rudyard Kipling, from "The Works of Rudyard Kipling" Vol. VII: The Jungle Book, 1907.
This is a list of characters that appear in Rudyard Kipling's Jungle Book story collection, its sequel The Second Jungle Book, and the various film adaptations based on those books. Characters include both human and talking animal characters.
Contents
[hide]
1 In the Mowgli stories
2 Other stories
3 Disney adaptations
4 References
In the Mowgli stories[edit]
Tabaqui the golden jackal (left) torments Father Wolf and his family, as illustrated the 1895 edition of The Two Jungle Books.
Mowgli made leader of the Bandar Log by John Charles Dollman, 1903
Mowgli (मोगली Maogalī; feral child) - Also referred to as "Man Cub".
Jungle characters - The following characters reside in the jungle.
Seeonee Wolf Pack
Akela (अकेला Akēlā, "alone"; Indian wolf) - The leader of the wolf pack.
Raksha (रक्षा Rakṣā, "protection"; Indian wolf) - Also called Mother Wolf, she is Mowgli's adoptive mother.
Rama (Indian wolf) - Also called Father Wolf, he is Mowgli's adoptive father.
Grey Brother (Indian wolf) - The oldest of Father Wolf and Raksha's cubs.
Leela (लीला līlā; Indian wolf) - The granddaughter of Akela.
Baloo (भालू Bhālū, "bear"; sloth bear) - Mowgli's best friend. In Kipling's book, he is described as a sleepy old sloth bear, who teaches Mowgli the law of the jungle.
Bagheera (बघीरा Baghīrā; بگیڑہ Bagīrah, "black panther"; black panther variety of Indian leopard) - Mowgli's mentor.
Bandar-log (बन्दर-लोग Bandar-lōg, "monkey-folks"; grey langurs) - A group of monkeys who are treated as pariahs for their scatterbrained anarchy. They kidnap the very young Mowgli, who is rescued by Bagheera, Baloo, and Kaa.
Kaa (का Kā; Indian rock python) - Mowgli's wise mentor and friend, though also feared throughout the jungle for his mesmerising "hunger dance".
Hathi (हाथी Hāthī, "Elephant"; Indian elephant) - The leader of the jungle's elephants and the individual called "The True Master of The Jungle".
Tabaqui (तंबाकूवी Taṃbākūvī; "Dish-Licking Dog"; golden jackal) - He feeds on scraps from either Shere Khan or the wolves of the Seeonee Pack. In some adaptations, he is a hyena. Tabaqui is the only friend of Shere Khan as well as Shere Khan's spy and messenger. He is killed by Grey Brother after the Grey Brother interrogates him into admitting both what Shere Khan plans to do and where and then crushes the jackal's back in "Tiger! Tiger!".
Mang (मङग Maṅg, "go"; bat) - A bat.
Shere Khan (शेर खान شیر خان (Śēr Khān, "Tiger King" ("Khan" is a common title of Indian Muslim lordship and royalty); Bengal tiger),[1] - A man-eating Royal Bengal Tiger who is the main villain and the archenemy of Mowgli. He is often known as "a chief among tigers" and in multiple adaptations as the one called "The King of Tigers". Despite being born with a withered leg and derisively nicknamed "Lungri" ("The Lame One") by his own mother, Shere Khan is aggressive, arrogant, self-centered, and sees himself as the rightful lord of the jungle. Tabaqui is his only friend. He has a very serious anger issue.
Rama (रमा Ramā; water buffalo) - A water buffalo.
Mysa (मौसा Maisā, "uncle"; water buffalo) - A water buffalo.
Chil (चील Cīl, "kite"; brahminy kite), in earlier editions called Rann (रण Raṇ, "battle") - A kite that serves as a messenger.
sahi (इकी Ikī; Indian porcupine) - In earlier editions, he was called Sahi (साही Sāhī, "porcupine").
Tha (था Thā, "He was"; Indian elephant) - The first of the elephants according to Hathi.
Thuu (थू Thū; Indian cobra) - Also called White Hood, Thuu a blind albino cobra. Mowgli gives him the derisory epithet "Thuu" (meaning "it has dried") upon discovering that the supposedly deadly cobra's fangs are in fact withered and dried up from age and disuse.
Phaona (फवाना Phavānā; Indian wolf) - Phao's father
Dholes
Oo (ऊ Ū; turtle)
Jacala (जाचला Jacalā, "obstacle"; Indian crocodile) - A large mugger crocodile. In "Red Dog", it is stated that Mowgli broke a knife on Jacala's back during a protracted fight with him.
Mao (मवा Mavā; Indian peacock) - In earlier editions, he was called Mor (मोर Mōr, "peacock").
Won-Tolla (Indian wolf) - An outlier who warns Mowgli's tribe of the dholes
Chikai (चीकै Cīkai, "squeak"; rat)
Phao (फवा Phavā; Indian wolf) - Son of Phaona, leader of The Free People.
Ferao (फोडवा Phōṛavā, "woodpecker"; scarlet woodpecker)
Human characters - The following characters are known humans.
Messua - The wife of the richest man of the human village, who decides to adopt the wild Mowgli, believing that he is their long-lost son Nathoo.
Messua's husband - An unnamed man who is the richest man of the village.
Nathoo (नत्थू Natthū) - The long-lost son of Messua and her husband, who has been snatched by a tiger.
Buldeo (बलदेव Baladēvā) - The elderly chief hunter of Messua's village. He is boastful, arrogant, greedy and superstitious, and he is furious when Mowgli, who knows what the jungle is really like, contradicts some of his own more fanciful stories about the jungle. He hopes to kill Shere Khan so he can get a substantial reward placed out as a bounty for the tiger's skin.
Kamya (काम्या Kāmyā) - One of the village boys who herds buffalo along with Mowgli.
Other stories[edit]
"Rikki-Tikki-Tavi"
Rikki-Tikki-Tavi (mongoose)
Nag and Nagaina (cobras) - "Nag" is the Hindi word for "cobra."
Darzee (tailorbird) - "Darzee" means tailor in Hindi.
Chuchundra (Asian house shrew) - Called a muskrat in the story.
Karait (common krait)
The Coppersmith (coppersmith barbet)
"The White Seal"
Kotick (albino seal)
Sea Catch (northern fur seal)
Matkah (northern fur seal)
Sea Vitch (walrus)
Sea Cow (Steller's sea cow)
Burgomaster Gull (species) (same as Glaucous gull)
Limmershin, the Winter Wren
"Toomai of the Elephants"
Toomai
Kala Nag (elephant)
"Her Majesty's Servants"
Two-Tails (elephant)
Billy (battery-mule)
Vixen (a small dog)
"The Undertakers"
The Jackal (Golden jackal)
The Adjutant (Lesser adjutant stork, erroneously referred to as a crane)
Mugger of Mugger-Ghaut (Mugger crocodile)
The Gavial (Gharial) - The Mugger's cousin.
Disney adaptations[edit]
The following characters appear in the Disney adaptions:
King Louie - The orangutan who leads the Bandar-log. In the 2016 film, he is a Gigantopithecus. He is voiced by Louis Prima in the first movie, Jim Cummings in TaleSpin, Jason Marsden in Season One of Jungle Cubs, Cree Summer in Season Two of Jungle Cubs, and Christopher Walken in the 2016 film.
Winifred - Colonel Hathi's wife and the mother of Hathi Jr. who serves as Hathi's second-in-command of the Jungle Patrol. She is voiced by Verna Felton in the first movie and by Kath Soucie in "Jungle Cubs."
Hathi Jr. - The baby elephant who is the son of Hathi and Winifred and is a good friend of Mowgli. He is voiced by Clint Howard in the first movie and by Jimmy Bennett in The Jungle Book 2.
Flunkey - King Louie's monkey servant. He is voiced by Leo De Lyon in the first film and by Jim Cummings in The Jungle Book 2.
Buzzie, Dizzy, Flaps, and Ziggy the Vultures - They are four vultures who closely resemble the Beatles because of their shaggy moptop haircuts and Liverpool accents. Buzzie resembles Ringo Starr, Dizzy resembles George Harrison, Flaps resembles Paul McCartney, and Ziggy resembles John Lennon. Their song "That's What Friends Are For" was sung in the style of a barbershop quartet instead of a Beatles song. Disney was originally going to have The Beatles voice them, but John Lennon refused the offer. Buzzie was voiced by J. Pat O'Malley in the first film and by Jim Cummings in The Jungle Book 2. Dizzy is voiced by Lord Tim Hudson in the first film and by Baron Davis in The Jungle Book 2. Flaps is voiced by Chad Stuart in the first film and by Jeff Bennett in The Jungle Book 2. Ziggy is voiced by Digby Wolfe in the first film and by Jess Harnell in The Jungle Book 2.
Shanti (named only in The Jungle Book 2) - The girl whose song "My Own Home" lured Mowgli into the Man Village in the 1967 film. Shanti later serves as his ally/love interest in the sequel. Shanti is voiced by Darleen Carr in the first film and by Mae Whitman in The Jungle Book 2.
Ranjan (The Jungle Book 2) - Mowgli's adopted younger brother. He is depicted as the son of Messua and her husband. Ranjan is voiced by Connor Funk.
Lucky (The Jungle Book 2) - The vultures' friend who loves teasing Shere Kahn as seen in The Jungle Book 2. He is voiced by Phil Collins.
Rocky the Rhino - Rocky is an Indian rhinoceros. In the earlier production of the first film, Rocky was to appear in the same scene as the Vultures where he would've been voiced by Frank Fontaine. Unfortunately, his part got scrapped.[2] Rocky did appear in the 2016 film voiced by Russell Peters where he was among the animals observing the Water Truce. After telling Mowgli to watch himself after being backed into him upon being accidentally pricked by Ikki's quills, Rocky tells Raquel that Mowgli is a man-cub.
Raquel the Rhino (2016 film) - The daughter of Rocky the Rhino. She is voiced by Madeleine Favreau.
Fred the Pygmy Hog (2016 film) - A pygmy hog who is one of the neighbors and friends of Baloo. He was voiced by Jon Favreau.
Giant Squirrel (2016 film) - An Indian giant squirrel who is one of the neighbors and friends of Baloo. The Giant Squirrel was the one who supported Baloo's claim to Mowgli that the honey works to soothe the bee stings. He was voiced by Sam Raimi.
Pangolin (2016 film) - An Indian pangolin who is one the neighbors and friends of Baloo. No voice actor was credited for this role.
References[edit]
Jump up ^ see http://www.shabdkosh.com/en2hi/search.php?ts=1221774293378&e=शेर – according to Erika Klemm: Hindi-deutsches Wörterbuch (Leipzig 1971) शेर means "lion" or "tiger"
Jump up ^ "Lost Character: Rocky the Rhino", The Jungle Book Platinum Edition Disc 1
Wikimedia Commons has media related to The Jungle Book characters.
[hide]
v
t
e
Rudyard Kipling's The Jungle Book
Books
The Jungle Book (1894)
The Second Jungle Book (1895)
All the Mowgli Stories (1933)
Mowgli stories
"Mowgli's Brothers"
"Kaa's Hunting"
"Tiger! Tiger!"
"Letting in the Jungle"
"Red Dog"
Other stories
"Rikki-Tikki-Tavi"
"Toomai of the Elephants"
Characters
Mowgli
Baloo
Bagheera
Akela
Raksha
Kaa
Hathi
Shere Khan
Bandar-log
King Louie
Disney franchise
Film
The Jungle Book (1967)
The Jungle Book (1994)
The Jungle Book: Mowgli's Story (1998)
The Jungle Book 2 (2003)
The Jungle Book (2016)
Television
TaleSpin (1990–91)
Jungle Cubs (1996–1998)
Soundtrack
"Colonel Hathi's March"
"The Bare Necessities"
"I Wan'na Be like You"
"Trust in Me"
"That's What Friends Are For"
"My Own Home"
"Jungle Jungle Baat Chali Hai"
Video games
The Jungle Book (1993)
The Jungle Book Groove Party (2000)
Other
The Jungle Book: Alive with Magic
Colonel Hathi's Pizza Outpost
Other adaptations
Film
Elephant Boy (1937)
Jungle Book (1942)
Adventures of Mowgli (1973)
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Temple of Aphaea
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Temple of Aphaia
Ναός Αφαίας (in Greek)
Temple of Aphaia from the southeast.
Shown within Greece
Location
Agia Marina, Attica, Greece
Region
Saronic Gulf
Coordinates
37°45′15″N 23°32′00″E / 37.75417°N 23.53333°E / 37.75417; 23.53333Coordinates: 37°45′15″N 23°32′00″E / 37.75417°N 23.53333°E / 37.75417; 23.53333
Type
Ancient Greek temple
Length
80 m (260 ft)
Width
80 m (260 ft)
Area
640 m2 (6,900 sq ft)
History
Founded
Circa 500 BC
Periods
Archaic Greek to Hellenistic
Satellite of
Aegina, then Athens
Site notes
Condition
Erect with collapsed roof
Ownership
Public
Management
26th Ephorate of Prehistoric and Classical Antiquities
Public access
Yes
Website
Hellenic Ministry of Culture and Tourism
The Temple of Aphaia (Greek: Ναός Αφαίας) or Afea[1] is located within a sanctuary complex dedicated to the goddess Aphaia on the Greek island of Aigina, which lies in the Saronic Gulf. Formerly known as the Temple of Jupiter Panhellenius, the great Doric temple is now recognized as dedicated to the mother-goddess Aphaia. It was a favorite of the neoclassical and romantic artists such as J. M. W. Turner. It stands on a c. 160 m peak on the eastern side of the island approximately 13 km east by road from the main port.[2]
Aphaia (Greek Ἀφαία) was a Greek goddess who was worshipped exclusively at this sanctuary. The extant temple of c. 500 BC was built over the remains of an earlier temple of c. 570 BC, which was destroyed by fire c. 510 BC. The elements of this destroyed temple were buried in the infill for the larger, flat terrace of the later temple, and are thus well preserved. Abundant traces of paint remain on many of these buried fragments. There may have been another temple in the 7th century BC, also located on the same site, but it is thought to have been much smaller and simpler in terms of both plan and execution. Significant quantities of Late Bronze Age figurines have been discovered at the site, including proportionally large numbers of female figurines (kourotrophoi), indicating – perhaps – that cult activity at the site was continuous from the 14th century BC, suggesting a Minoan connection for the cult.[3] The last temple is of an unusual plan and is also significant for its pedimental sculptures, which are thought to illustrate the change from Archaic to Early Classical technique. These sculptures are on display in the Glyptothek of Munich, with a number of fragments located in the museums at Aigina and on the site itself.[4]
Contents
[hide]
1 Exploration and archaeology
2 Phases of the sanctuary
2.1 Bronze Age phase
2.2 Late Geometric phase
2.3 Archaic phase (Aphaia Temple I)
2.4 Late Archaic Phase (Aphaia Temple II)
3 Pedimental sculptures
3.1 Eastern pediment
3.2 Western pediment
4 See also
5 References
6 Sources
7 External links
Exploration and archaeology[edit]
Plan of the sanctuary
The periegetic writer Pausanias briefly mentions the site in his writings of the 2nd century AD, but does not describe the sanctuary in detail as he does for many others.[5] The temple was made known in Western Europe by the publication of the Antiquities of Ionia (London, 1797). In 1811, the young English architect Charles Robert Cockerell, finishing his education on his academic Grand Tour, and Baron Otto Magnus von Stackelberg removed the fallen fragmentary pediment sculptures. On the recommendation of Baron Carl Haller von Hallerstein, who was also an architect and, moreover, a protégé of the art patron Crown Prince Ludwig of Bavaria, the marbles were shipped abroad and sold the following year to the Crown Prince, soon to be King Ludwig I of Bavaria. Minor excavations of the east peribolos wall were carried out in 1894 during reconstruction of the last temple.
Systematic excavations at the site were carried out in the 20th century by the German School in Athens, at first under the direction of Adolf Furtwängler. The area of the sanctuary was defined and studied during these excavations. The area under the last temple could not be excavated, however, because that would have harmed the temple. In addition, significant remains from the Bronze Age were detected in pockets in the rocky surface of the hill. From 1966 to 1979, an extensive second German excavation under Dieter Ohly was performed, leading to the discovery in 1969 of substantial remains of the older Archaic temple in the fill of the later terrace walls. Ernst-Ludwig Schwandner and Martha Ohly were also associated with this dig, which continued after the death of Dieter Ohly until 1988. Sufficient remains were recovered to allow a complete architectural reconstruction of the structure to be extrapolated; the remains of the entablature and pediment of one end of the older temple have been reconstructed in the on-site museum.
Phases of the sanctuary[edit]
External video
smARThistory - East and West Pediments, Temple of Aphaia, Aegina[6]
The sanctuary of Aphaia was located on the top of a hill c. 160 m in elevation at the northeast point of the island. The last form of the sanctuary covered an area of c. 80 by 80 m; earlier phases were less extensive and less well defined.
Bronze Age phase[edit]
In its earliest phase of use during the Bronze Age, the eastern area of the hilltop was an unwalled, open-air sanctuary to a female fertility and agricultural deity.[3] Bronze Age figurines outnumber remains of pottery. Open vessel forms are also at an unusually high proportion versus closed vessels. There are no known settlements or burials in the vicinity, arguing against the remains being due to either usage. Large numbers of small pottery chariots and thrones and miniature vessels have been found. Although there are scattered remains dating to the Early Bronze Age such as two seal stones, remains in significant quantities begin to be deposited in the Middle Bronze Age, and the sanctuary has its peak use in the LHIIIa2 through LHIIIb periods. It is less easy to trace the cult through the Sub-Mycenean period and into the Geometric where cult activity is once more reasonably certain.
Late Geometric phase[edit]
Furtwängler proposes three phases of building at the sanctuary, with the earliest of these demonstrated by an altar at the eastern end dating to c. 700 BC. Also securely known are a cistern at the northeast extremity and a structure identified as a treasury east of the propylon (entrance) of the sanctuary. The temple corresponding to these structures is proposed to be under the later temples and thus not able to be excavated. Furtwängler suggests that this temple is the oikos (house) referenced in a mid-7th-century BC inscription from the site as having been built by a priest for Aphaia; he hypothesizes that this house of the goddess (temple) was built of stone socles topped with mud brick upper walls and wooden entablature.[7] The top of the hill was slightly modified to make it more level by wedging stones into the crevices of the rock.
Archaic phase (Aphaia Temple I)[edit]
Reconstructed entablature and pediment of the Temple of Aphaia I in the on-site museum.
Ohly detected a (stone socle and mudbrick upper level) peribolos wall enclosing an area of c. 40 by 45 m dating to this phase. This peribolos was not aligned to the axis of the temple. A raised and paved platform was built to connect the temple to the altar. There was a propylon (formal entrance gate) with a wooden superstructure in the southeast side of the peribolos. A 14 m tall column topped by a sphinx was at the northeast side of the sanctuary. The full study and reconstruction of the temple was done by Schwandner, who dates it to before 570 BC. In his reconstruction, the temple is prostyle-tetrastyle in plan, and has a pronaos and – significantly – an adyton at the back of the cella. As is the case at the temples of Artemis at Brauron and Aulis (among others), many temples of Artemis have such back rooms, which may indicate a similarity of cult practice.[8] The cella of the temple of Aphaia had the unusual feature of having two rows of two columns supporting another level of columns that reached the roof. The architrave of this temple was constructed in two courses, giving it a height of 1.19 m versus the frieze height of 0.815 m; this proportion is unusual among temples of the region, but is known from temples in Sicily. A triglyph and metope frieze is also placed along the inside of the pronaos.[9] These metopes were apparently undecorated with sculpture, and there is no evidence of pedimental sculptural groups. This temple and much of the sanctuary was destroyed by fire around 510 BC.
Late Archaic Phase (Aphaia Temple II)[edit]
View east from the opisthodomos of the Temple of Aphaia II showing the colonnades of the cella.
Construction of a new temple commenced soon after the destruction of the older temple. The remains of the destroyed temple were removed from the site of the new temple and used to fill a c. 40 by 80 m terrace within the overall sanctuary of c. 80 by 80 m. This new temple terrace was aligned on north, west, and south with the plan of the new temple. The temple was a hexastyle peripteral Doric order structure on a 6 by 12 column plan resting on a 15.5 by 30.5 m platform; it had a distyle in antis cella with an opisthodomos and a pronaos.[10] All but three of the outer columns were monolithic. There was a small, off-axis doorway between the cella and the opisthodomos. In similar design but more monumental execution than the earlier temple, the cella of the new temple had two rows of five columns, supporting another level of columns that reached to roof. The corners of the roof were decorated with sphinx acroteria, and the central, vegetal acroterion of each side had a pair of kore statues standing one on either side, an unusual feature. The antefixes were of marble, as were the roof tiles.
Doric frieze and horizontal geisa of the Temple of Aphaia II showing slotted triglyphs.
Dates ranging from 510 to 470 BC have been proposed for this temple. Bankel, who published the complete study of the remains, compares the design features of the structure with three structures that were near contemporaries:
The Athenian Treasury at Delphi
The Doric Temple in the Marmaria area of Delphi
The temple of Artemis at Delion on Paros
Bankel says the temple of Aphaia is more developed than the earlier phase of this structure, giving it a date of around 500 BC. The metopes of this temple, which were not found, were slotted into the triglyph blocks and attached to backer blocks with swallowtail clamps. If they were wooden, their lack of preservation is to be expected. If they were stone, then they may have been removed for the ancient antiquities market while the structure was still standing.[11] The altar was redone for this phase as well.
Pedimental sculptures[edit]
Sculpture of a warrior from the east pediment of the Temple of Aphaia II.
The marbles from the Late Archaic temple of Aphaia, comprising the sculptural groups of the east and west pediments of the temple, are on display in the Glyptothek of Munich, where they were restored by the Danish neoclassic sculptor Bertel Thorvaldsen. These works exerted a formative influence on the local character of Neoclassicism in Munich, as exhibited in the architecture of Leo von Klenze. Each pediment centered on the figure of Athena, with groups of combatants, fallen warriors, and arms filling the decreasing angles of the pediments. The theme shared by the pediments was the greatness of Aigina as shown by the exploits of its local heroes in the two Trojan wars, one led by Heracles against Laomedon and a second led by Agamemnon against Priam. According to the standard myths, Zeus raped the nymph Aigina, who bore the first king of the island, Aiakos. This king had the sons Telamon (father of the Homeric hero Ajax) and Peleus (father of the Homeric hero Achilles). The Greek idolize heroes who fallen at war, to die on the battleground was a great honor it depicted courage and strength. When a hero died it was though that they become immortal because they prove themselves to the Gods[12]. The sculptures preserve extensive traces of a complex paint scheme, and are crucial for the study of painting on ancient sculpture. The marbles are finished even on the back surfaces of the figures, despite the fact that these faced the pediment and were thus not visible.
Sculpture of a warrior from the west pediment of the Temple of Aphaia II.
Ohly had contended that there were four total pedimental groups (two complete sets of pediments for the east and west sides of the temple); Bankel uses the architectural remains of the temple to argue that there were only three pedimental groups; later in his life, Ohly came to believe that there were only two, which was shown persuasively by Eschbach.[13] There were shallow cuttings and many dowels used to secure the plinths of the sculptures of the west pediment (the back of the temple). The east pediment used deep cuttings and fewer dowels to secure the plinths of the statues. There were also a number of geison blocks that had shallow cuttings and many dowels like the west pediment, but that did not fit there. Bankel argues that sculptures were set on both the east and the west pediments with these shallow cuttings, but that the sculptures of the east pediment were removed (along with the geison blocks cut to receive them) and replaced with a different sculptural group. This replacement appears to have been carried out before the raking geisa were installed on the east pediment, since the corner geisa were not cut down to join to the raking geisa: i.e. the 1st phase of the east pediment was replaced with the 2nd phase before that end of the temple was completed. As the eastern facade of the temple (the front) was the most important visually, it is not surprising that the builders would choose to focus additional efforts on it.
Eastern pediment[edit]
Colourful Reconstruction of the Eastern pediment
The first Trojan war, not the one described by Homer but the war of Heracles against the king of Troy Laomedon is the theme, with Telamon figuring prominently as he fights alongside Heracles against king Laomedon. This pediment is thought to be later than the west pediment and to show a number of features appropriate to the Classical period: the statues show a dynamic posture especially in the case of Athena, chiastic composition, and intricate filling of the space using the legs of fallen combatants to fill the difficult decreasing angles of the pediment. Part of the eastern pediment was destroyed during the Persian Wars, possibly by a thunderbolt. The statues that survived were set up in the sanctuary enclosure, and those that were destroyed, were buried according to the ancient custom. The old composition was replaced by a new one with a scene of a battle, again with Athena at the center.[14]
Western pediment[edit]
Colourful Reconstruction of the Western pediment
The second Trojan war – the one described by Homer – is the theme, with Ajax (son of Telamon) figuring prominently. The style of these sculptures is that of the Archaic period. The composition deals with the decreasing angles of the pediment by filling the space using a shield and a helmet.
See also[edit]
Greek architecture
Greek temple
List of Greco-Roman roofs
References[edit]
Jump up ^ The name Afea appears on all the local signs, Afea being the name of a Cretan woman of unsurpassed beauty. After escaping an unwelcome marriage on Crete, she was rescued by a fisherman from Aegina. In payment for this he also proposed an unwelcome marriage. So Afea headed out of Aghia Marina towards the mountain top where she vanished at the current site of the temple, where it is said that the fisherman established a shrine believing Afea to have been taken by the gods.
Jump up ^ The main port and the main city are named Aigina, after the island. The Temple of Aphaia is 9.6 km east of this city. The sanctuary is also 29.5 km southwest of the Acropolis of Athens, which is visible across the gulf on a clear day.
^ Jump up to: a b Pilafidis-Williams argues that the character and relative proportions of the finds leads to the conclusion that the deity worshiped was a female fertility/agricultural goddess.
Jump up ^ The important Bronze Age archaeological site of Kolona is northwest of Aigina (the main city) along the coast, and a museum is located at this site. The museum at Aigina was the first institution of its kind in Greece, but most of the collection (other than a collection of bas relief panels from Delos) was transferred to Athens in 1834 (EB), where it can be seen in the National Archaeological Museum of Athens. The museum on the site contains a restoration of the Early Archaic temple entablature and pediment, as well as copies of elements of the pedimental sculpture of the Late Archaic temple set into restored sections of the pediment.
Jump up ^ Description of Greece 2.30.3
On Aigina as one goes toward the mountain of Pan-Greek Zeus, the sanctuary of Aphaia comes up, for whom Pindar composed an ode at the behest of the Aeginetans. The Cretans say (the myths about her are native to Crete) that Euboulos was the son of Karmanor, who purified Apollo of the killing of the Python, and they say that Britomaris was the daughter of Zeus and Karme (the daughter of this Euboulos). She enjoyed races and hunts and was particularly dear to Artemis. While fleeing from Minos, who lusted after her, she cast herself into nets cast for a catch of fish. Artemis made her a goddess, and not only the Cretans but also the Aeginetans reverence her. The Aeginetans say that Britomaris showed herself to them on their island. Her epithet among the Aeginetans is Aphaia, and it is Diktynna on Crete.
Jump up ^ "East and West Pediments, Temple of Aphaia, Aegina". smARThistory at Khan Academy. Retrieved December 17, 2012.
Jump up ^ Ohly disputes that there is sufficient evidence for this oikos structure.
Jump up ^ Hollinshead disputes that there is sufficient evidence for the presence of an adyton in this temple, and she questions whether similarity of form among temples of Artemis must indicate similarity of cult practice. This feature was not retained in the late Archaic temple, so its centrality to the cult practice is open to question.
Jump up ^ Schwandner wants this placement to refute the idea that triglyphs are meant to represent the ends of wooden beams.
Jump up ^ The use of the 6 by 12 plan of the Late Archaic period soon gave way to the Classical period preference for the proportions of the 6 by 13 plan and similar.
Jump up ^ Bankel notes that c. 80% of the triglyph blocks were damaged in a manner consistent with intentional breakage to remove the metopes.
Jump up ^ Spivey, Nigel (2012). Greek sculpture. Cambridge [u.a.]: Cambridge Univ. Press. ISBN 978-0521756983.
Jump up ^ N. Eschbach, Die archaische Form in nacharchaischer Zeit: Untersuchungen zu Phänomenen der archaistischen Plastik des 5. und 4. Jhs. v. Chr.” Unpublished Habilitationschrift, University of Giessen.
Jump up ^ Leaflet "The Sanctuary of Aphaia on Aegina", Greek Ministry of Culture, Archaeological Receipts Fund, Athens 1998.
Sources[edit]
Bankel, Hansgeorg. 1993. Der spätarchaische Tempel der Aphaia auf Aegina. Denkmäler antiker Architektur 19. Berlin; New York: W. de Gruyter. ISBN 9783110128086.
Cartledge, Paul, Ed., 2002. The Cambridge Illustrated History of Ancient Greece, Cambridge University Press, p. 273.
Cook, R. M. 1974. The Dating of the Aegina Pediments. Journal of Hellenic Studies, 94 pp. 171. doi:10.2307/630432
Diebold, William J. 1995. "The Politics of Derestoration: The Aegina Pediments and the German Confrontation with the Past." Art Journal, 54, no2 pp. 60–66.
Furtwängler, Adolf, Ernst R. Fiechter and Hermann Thiersch. 1906. Aegina, das Heiligthum der Aphaia. München: Verlag der K. B. Akademie der wissenschaften in Kommission des G. Franz’schen Verlags (J. Roth).
Furtwängler, Adolf. 1906. Die Aegineten der Glyptothek König Ludwigs I, nach den Resultaten der neuen Bayerischen Ausgrabung. München: Glyptothek: in Kommission bei A. Buchholz.
Glancey, Jonathan, Architecture, Doring Kindersley, Ltd.:2006, p. 96.
Invernizzi, Antonio. 1965. I frontoni del Tempio di Aphaia ad Egina. Torino: Giappichelli.
Ohly, Dieter. 1977. Tempel und Heiligtum der Aphaia auf Ägina. München: Beck.
Pilafidis-Williams, Korinna. 1987. The Sanctuary of Aphaia on Aigina in the Bronze Age. Munich: Hirmer Verlag. ISBN 9783777480107
Schildt, Arthur. Die Giebelgruppen von Aegina. Leipzig : [H. Meyer], 1895.
Schwandner, Ernst-Ludwig. 1985. Der ältere Porostempel der Aphaia auf Aegina. Berlin: W. de Gruyter. ISBN 9783110102796.
Webster, T. B. L. 1931. "The Temple of Aphaia at Aegina," Journal of Hellenic Studies, 51: 2, pp. 179–183.
External links[edit]
Wikimedia Commons has media related to Temple of Aphaia.
Wikisource has the text of the 1911 Encyclopædia Britannica article Aegina.
Official website
Pedimental Sculpture
Temple of Aphaia Photographs
(Hellenic Ministry of Culture) Archaeological site of Aphaia on Aigina
German Wikipedia page for Dieter Ohly
Ferdinand Pajor, "Cockerell and the 'Grand Tour'"
Perseus website: "Aegina, Temple of Aphaia" Extensive photo repertory
Adolf Furtwängler on the temple's polychromy, 1906
Reconstruction of the polychrome Western Pediment
The Museum of the Goddess Athena
Retrieved from "https://en.wikipedia.org/w/index.php?title=Temple_of_Aphaea&oldid=817537707"
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A Story of the Days to Come
From Wikipedia, the free encyclopedia
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"A Story of Days To Come"
Author
H. G. Wells
Country
United Kingdom
Language
English
Genre(s)
Science fiction
Published in
The Pall Mall Magazine
Media type
Print (Magazine)
Publication date
June–October 1899
"A Story of the Days To Come" is a novella by H. G. Wells comprising five chapters that was first published in the June to October 1899 issues of The Pall Mall Magazine. It was later included in an 1899 collection of Wells's short stories, Tales of Space and Time.
The chapter titles are:
"The Cure for Love"
"The Vacant Country"
"The Ways of the City"
"Underneath"
"Bindon Intervenes"
The novella depicts two lovers in a dystopian future London of the 22nd century and explores the implications of excessive urbanization, class warfare, and advances in the technology of medicine, communication, transportation, and agriculture. Like "When the Sleeper Wakes", published in the same year, the stories extrapolate the trends Wells observed in nineteenth-century Victorian London two hundred years into the future.
The London of the early 22nd century is over 30 million people in population, with the lower classes living in subterranean dwellings, and the middle and upper classes living in skyscrapers and largely communal accommodations. Moving walkways interconnect the city, with fast air-travel and superhighways available between cities. The countryside is largely abandoned.
Plot summary[edit]
A wealthy heiress falls in love with a middle-class worker of romantically quaint disposition. In part one, the woman's father hires a hypnotist to program his daughter to instead choose a more appropriate suitor selected by him. When that plot is unraveled, the couple secretly marry and flee into the abandoned countryside and attempt to live off the land. After being driven back into the city, the couple live a modest middle-class lifestyle until their money runs out. At that point, they move to the "underneath" area of London to toil in physical labor as lower-class workers. Finally, their issues are resolved through the machinations of her spurned would-be suitor, and they resume a middle-class lifestyle.
Among other things, this short story appears to anticipate technical developments toward massive urbanization, skyscrapers, moving sidewalks, superhighways, advertising, mass media, psychotherapy, and intercontinental aircraft traveling at jet speeds.
Socially and economically, however, it predicts a very stratified class structure and a largely communal society where few mega-corporations control all means of production. It also predicts hypnosis as a supplement or replacement to psychology, "creches" where child-rearing is transferred from parents to professionals, and a megapolis served by citywide moving walkways and escalators, with enormous cities (four in England) separated by abandoned countryside.
External links[edit]
"A Story of the Days To Come" in Tales of Space and Time. University of Newcastle, Australia.
"A Story of the Days to Come" at
A Story of the Days to Come public domain audiobook at LibriVox
[hide]
v
t
e
Works by H. G. Wells
Novels
The Time Machine (1895)
The Wonderful Visit (1895)
The Island of Doctor Moreau (1896)
The Wheels of Chance (1896)
The Invisible Man (1897)
The War of the Worlds (1898)
When the Sleeper Wakes (1899)
Love and Mr Lewisham (1900)
The First Men in the Moon (1901)
The Sea Lady (1902)
The Food of the Gods and How It Came to Earth (1904)
Kipps (1905)
A Modern Utopia (1905)
In the Days of the Comet (1906)
The War in the Air (1908)
Tono-Bungay (1909)
Ann Veronica (1909)
The History of Mr Polly (1910)
The Sleeper Awakes (1910)
The New Machiavelli (1911)
Marriage (1912)
The Passionate Friends (1913)
The Wife of Sir Isaac Harman (1914)
The World Set Free (1914)
Bealby: A Holiday (1915)
Boon (1915)
The Research Magnificent (1915)
Mr Britling Sees It Through (1916)
The Soul of a Bishop (1917)
Joan and Peter: The Story of an Education (1918)
The Undying Fire (1919)
The Secret Places of the Heart (1922)
Men Like Gods (1923)
The Dream (1924)
Christina Alberta's Father (1925)
The World of William Clissold (1926)
Meanwhile (1927)
Mr. Blettsworthy on Rampole Island (1928)
The Autocracy of Mr. Parham (1930)
The Bulpington of Blup (1932)
The Shape of Things to Come (1933)
The Croquet Player (1936)
Brynhild (1937)
Star Begotten (1937)
The Camford Visitation (1937)
Apropos of Dolores (1938)
The Brothers (1938)
The Holy Terror (1939)
Babes in the Darkling Wood (1940)
All Aboard for Ararat (1940)
You Can't Be Too Careful (1941)
Nonfiction
Anticipations
Certain Personal Matters
Crux Ansata
The Discovery of the Future
An Englishman Looks at the World (U.S. title: Social Forces in England and America)
Experiment in Autobiography
The Fate of Man
First and Last Things
Floor Games
The Future in America: A Search After Realities
God the Invisible King
Great Ghost Stories (1998)
In the Fourth Year
Little Wars
Mankind in the Making
Mind at the End of Its Tether
Mr. Belloc Objects to "The Outline of History"
The New America: The New World
The New World Order
New Worlds for Old
The Open Conspiracy
The Outline of History
Russia in the Shadows
The Science of Life
A Short History of the World
The Story of a Great Schoolmaster
This Misery of Boots
Travels of a Republican Radical in Search of Hot Water
War and the Future (North America: Italy, France and Britain at War)
The Way the World is Going
The Work, Wealth and Happiness of Mankind
World Brain
A Year of Prophesying
Collections
The Country of the Blind and Other Stories
The Plattner Story and Others
Select Conversations with an Uncle
The Stolen Bacillus and Other Incidents
Tales of Space and Time
Twelve Stories and a Dream
Short stories
"Æpyornis Island"
"The Argonauts of the Air"
"The Beautiful Suit"
"The Chronic Argonauts"
"The Cone"
"The Country of the Blind"
"The Crystal Egg"
"A Deal in Ostriches"
"The Diamond Maker"
"A Dream of Armageddon"
"The Empire of the Ants"
"In the Abyss"
"The Land Ironclads"
"Mr. Ledbetter's Vacation"
"The Lord of the Dynamos"
"The Man Who Could Work Miracles"
"The New Accelerator"
"The Pearl of Love"
"The Queer Story of Brownlow's Newspaper"
"The Red Room"
"The Sea Raiders"
"The Star"
"The Stolen Body"
"A Story of the Days to Come"
"A Story of the Stone Age"
"Triumphs of a Taxidermist"
"The Truth About Pyecraft"
"A Vision of Judgment"
Screenplays
Things to Come
The Man Who Could Work Miracles
Retrieved from "https://en.wikipedia.org/w/index.php?title=A_Story_of_the_Days_to_Come&oldid=786989497"
Categories:
1899 short stories
Short stories by H. G. Wells
Works originally published in The Pall Mall Magazine
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