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Central Greece | Fokida | Delphi Town

Delphi Archaeological Museum

The Museum of Delphi is considered among the three most important museums in Greece, together with the ones of the Acropolis of Athens and in Heraklion, Crete. What makes a visit to the Greek Museums in general, this one in particular, an unforgettable experience, is the fact that they usually exist on the very archaeological site(s), thus putting the exhibits in the surroundings in which they were initially established, in close relevance to their cultural and/or religious role.
The Delphi Museum first opened its doors tο the public in 1903; in the more than 100 years that have elapsed since then, it has been recognized as one of the most important museums in Greece. It has undergone many renovations during this time and four different exhibitions, each reflecting the scientific concepts and artistic standards as they evolved through the 20th century. The quality of the exhibits, though, has always been the main advantage of this Museum.

According to Rosina Colonia, (Delphi Ephorate of Antiquities) “… the Delphi exhibits speak for themselves: they have the power to command respect and captivate the visitor, inviting him or her to admire them, and leaving this visitor with the memory of their charm and the enigma surrounding them. Even though the exhibits on display today constitute no more than a small but representative part of the dedications seen by Pausanias at Delphi, and an even smaller part of the many more that inundated the sanctuary during the years of its heyday, they indisputably continue to delight people with their wealth, variety and beauty. …Delphi has been included in archaeology textbooks, it has adorned art books; some of the Delphi finds, such as the Treasury of the Siphnians, are landmarks in the history of ancient Hellenic art, while others, even though more than one hundred years have elapsed since they came to light, continue to be a focal point of scholarly discussions even today, owing to unanswered questions regarding their identity and interpretation. But above all, they still chaim the broad public who flock, like ancient pilgrims, to admire the monuments of Delphi”. (Quotation ©: John S. Latsis Public Benefit Foundation)


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The Buried Treasures: The Chryselephantine Statues (Hall IV)

The 'repositories' with valuable offerings

In 1939, many years after the 'great excavation' of the sanctuary, an unexpected find supplemented the testimony of ancient writers -particularly that of Herodotus- concerning the fabulous gifts dedicated to Apollo by wealthy rulers of Asia Minor, such as Gyges and Croesus of Lydia and Midas of Phrygia. Beneath the paving stones of the Sacred Way, in front of the Stoa of the Athenians, French archaeologists discovered two pits full of objects made of precious material (gold, ivory, silver, copper) dating from the 8th to the 5th century BC. These included fragments of at least three chryselephantine statues, numerous pieces of forged silver sheet from a life-size bull, a great many relief & plaques, three exquisite masterpieces of 5th century BC miniature bronzework (shown in another page of our album), as well as humble votive offerings such as weapons and vases, which were found intermingled with earth, charcoal and ashes. The excavation indicated that all these finds had been offerings that were buried after suffering serious damage when the building in which they had been kept up to the mid 5th century BC was destroyed. According to the ethical rules of the time, those dedications were not allowed to be discarded or in any way removed from the site, so they were burried within the sacred place in the two depositories

Thanks to a years-long restoration project, thousands of fragments from the two pits (known as 'repositories') were reassembled to take the form of the exhibits we see today, which give us a vivid picture of the opulence of the dedications to the sanctuary in the Archaic and early Classical periods. Most of the offerings were produced by Ionian workshops and appear to originate from the wealthy cities of Ionia (Miletus, Ephesus, Samos). Although their original appearance cannot be fully restored, the remains of these chryselephantine statues constitute unique examples of a rare sculptural technique involving a combination of carved ivory and wrought gold, both riveted to a wooden core. According to ancient literary sources, this technique was used in the 6th and 5th centuries BC for cult statues, including those of Athena in the Parthenon and Zeus at Olympia, both of which were created by Phidias.

The Chryselephantine Statues

The three chryselephantine statues belonged to a composition which represented the Delian triad (Apollo, Artemis, Leto); Although large parts of their heads have been restored, where possible, in wax, they still retain the facial traits: almond-shaped eyes, arched eye-brows rendered by means of grooves and inlaid material, accentuated cheek-bones and fleshy lips. The diadem bands are decorated with running spirals in relief. Gold leaf or gilt sheets with hammered decoration that rendered the hair, dress, jewelry and other details were fitted onto the wooden core of the statues, while the bare parts of the body were of ivory. The eyes and the eyelashes were inlaid. Two hammered gold bands bearing relief scenes adorn the clothing of one of the figures. They were attached to the core of the statue with silver nails, the head of which was in the shape of a gilt rosette filled with enamel. They possibly belonged to the statue of Apollo, but there have been different opinions, based on the decoration or the bands (exclusively animals), that they may have belonged to Artemis. The Chryselephantine Statues are considered examples of fine Ionian art of the 6th c. BC.


Chryselephantine Statues: The head of the chryselephantine statue that probably represented Apollo.

Chryselephantine Statues: The head of the chryselephantine statue that probably represented Apollo.


Riveted on the wooden body of the statue were gold or gilded sheets with forged decoration, rendering the clothing, hair, jewelry and other details, whereas the head and nude parts of the body, such as legs and arms were made of ivory. The eyes and eyelids were inlaid. The figure was probably enthroned and, according to one interpretation, it belonged to a group of three chryselephantine statues representing the Delian triad (Apollo, Artemis and Leto). A large part of the face has been restored in wax; Masterpiece of Ionian art, 6th c. BC.
Chryselephantine Statues: The head of the chryselephantine statue that probably represented Apollo.

Chryselephantine Statues: The head of the chryselephantine statue that probably represented Apollo.
Chryselephantine Statues: The head of the chryselephantine statue that probably represented Apollo (Detail)

Chryselephantine Statues: The head of the chryselephantine statue that probably represented Apollo (Detail)


The arched eyebrows and almond eyes were highlighted with material inlaid into deep cuts.
Parts of a male chryselephantine statue, possibly of Apollo

Parts of a male chryselephantine statue, possibly of Apollo


2. Gold foils with relief wavy decoration represent the long hair-locks falling to the breast.
Parts of a male chryselephantine statue, possibly of Apollo

Parts of a male chryselephantine statue, possibly of Apollo


12. Gold band diadem with embossed rosettes that are attached in the centre by silver nails.
Chryselephantine Statues: 35. Flowers made of gold foil. Probably from the ivory overlay of a box or piece of furniture 6th c. BC.

Chryselephantine Statues: 35. Flowers made of gold foil. Probably from the ivory overlay of a box or piece of furniture 6th c. BC.
Chryselephantine Statues: 35. Flower made of gold foil. Probably from the ivory overlay of a box or piece of furniture 6th c. BC.

Chryselephantine Statues: 35. Flower made of gold foil. Probably from the ivory overlay of a box or piece of furniture 6th c. BC.
Chryselephantine Statues: 35. Flower made of gold foil

Chryselephantine Statues: 35. Flower made of gold foil
Parts of a male chryselephantine statue, possibly of Apollo

Parts of a male chryselephantine statue, possibly of Apollo


9. The ivory feet of the statue.
Parts of a male chryselephantine statue, possibly of Apollo

Parts of a male chryselephantine statue, possibly of Apollo


9. The ivory left foot of the statue
Parts of a male chryselephantine statue, possibly of Apollo: Gold bands (L)

Parts of a male chryselephantine statue, possibly of Apollo: Gold bands (L)


7. Gold bands with relief representations decorating the deity's clothing. Above and below they are framed by rosettes and divided into 8 square panels, each one decorated with a real or mythical animal. The panels are framed by attached gold rosettes. Judging from the style, spirit and workmanship, each of the bands was made by a different artist.

8. Gold bands with relief representation of rosettes decorating the deity's clothing.

Note: The four photos underneath in the same column show the four parts in which this band is divided
Parts of a male chryselephantine statue, possibly of Apollo: Gold bands (R)

Parts of a male chryselephantine statue, possibly of Apollo: Gold bands (R)


7. Gold bands with relief representations decorating the deity's clothing. Above and below they are framed by rosettes and divided into 8 square panels, each one decorated with a real or mythical animal. The panels are framed by attached gold rosettes. Judging from the style, spirit and workmanship, each of the bands was made by a different artist.

8. Gold bands with relief representation of rosettes decorating the deity's clothing.

Note: The four photos underneath in the same column show the four parts in which this band is divided
(L1) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(L1) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Top pair of panels, band to the left (See above): Wild Goat and Winged Horse
(R1) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(R1) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Top pair of panels, band to the right (See above): Winged Horse and Wild Goat
(L2) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(L2) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Second pair of panels from the top, band to the left: Lion mauling its prey and Griffin
(R2) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(R2) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Second pair of panels from the top, band to the right: Griffin and Panther
(L3) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(L3) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Third pair of panels from the top, band to the left (See above): Bull and Lion with two deer on its back
(R3) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(R3) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Third pair of panels from the top, band to the right: Lion with two deer on its back and Bull
(L4) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(L4) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Bottom pair of panels, band to the left (See above): Deer and Sphinx
(R4) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands

(R4) Parts of a male chryselephantine statue, possibly of Apollo: Gold bands


Bottom pair of panels, band to the right (See above): Sphinx and Deer
Chryselephantine Statues: 1. Head of chryselephantine female statue with gold diadem; it probably represented the goddess Artemis.

Chryselephantine Statues: 1. Head of chryselephantine female statue with gold diadem; it probably represented the goddess Artemis.


Two more chryselephantine statues belonged to this composition, which represented the Delian triad (Apollo, Artemis, Leto)
Chryselephantine Statues: Jewellery of the statue

Chryselephantine Statues: Jewellery of the statue


2. Two rosette-shaped sheets of gold riveted on ivory, rendering the figure's earrings.
3. Crescent-shaped gold jewelry, decorated with running spiral in relief.
Chryselephantine Statues: 2. Two rosette-shaped sheets of gold riveted on ivory, rendering the figure’s earrings.

Chryselephantine Statues: 2. Two rosette-shaped sheets of gold riveted on ivory, rendering the figure’s earrings.
Chryselephantine Statues: Jewellery and the hand of the statue

Chryselephantine Statues: Jewellery and the hand of the statue


3. Crescent-shaped gold jewelry, decorated with running spiral in relief
4. Necklace with gold beads in the form of lion-heads riveted on sheets of gold.
5. The right hand of the ivory statue of the goddess holding a scepter. It comprises of two parts, which fitted together.
6. Two gold bracelets of forged sheet. A band with incised decoration occupies the middle of the curved surface.
Chryselephantine Statues: 10.  Square plate of gold with relief griffin riveted on a bronze plaque, which decorated the figure’s garment as breast jewelry.

Chryselephantine Statues: 10. Square plate of gold with relief griffin riveted on a bronze plaque, which decorated the figure’s garment as breast jewelry.
Chryselephantine Statues: 21. Ivory pair of feet with finely worked, ornate sandals, belonging to α female figure.

Chryselephantine Statues: 21. Ivory pair of feet with finely worked, ornate sandals, belonging to α female figure.
Chryselephantine Statues: 23. Ivory pair of feet with finely worked, ornate sandals, belonging to α female figure.

Chryselephantine Statues: 23. Ivory pair of feet with finely worked, ornate sandals, belonging to α female figure.
Chryselephantine Statues: 25. Pair of ivory sphinxes with the same head, from a piece of decorative overlay.

Chryselephantine Statues: 25. Pair of ivory sphinxes with the same head, from a piece of decorative overlay.
Chryselephantine Statues: 15-17. Ivory heads

Chryselephantine Statues: 15-17. Ivory heads

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