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)

Photos will be gradually added in the near future

• Delphi Archaeological Museum: Why this album?
• Museum Plan: Where to find what
• The Prehistoric Dedications (Halls I - II)
• The Early Dedications
• The Golden Age of Delphi: The First Monumental Votive Offerings. The Twins of Argos (Hall III)
• The Golden Age of Delphi, The Early Architectural Sculptures: The Monopteros of the Sikyonians (Hall III)
• The Golden Age of Delphi: The Sphinx (Hall V)
• The Siphnian Treasury (Hall V)
• The Siphnian Treasury: The North side of the frieze (The Gigantomachy - Hall V)
• Dedications of the 5th century B.C.: The Charioteer (Hall XIII)
• The Treasury of the Athenians
• The Buried Treasures: The Chryselephantine Statues (Hall IV)
• The Buried Treasures: Decorative Ivory Reliefs (Hall IV)
• The Buried Treasures: The Silver Bull (Hall IV)
• Small Scale Bronze Sculptures from the Repositories
• The Glorious Temple (The Archaic Temple of Apollo - Hall VI)
• The Temple of Apollo in Classical Times (Hall VI)
• The Sanctuary of Athena Pronaia, the Τholos (Hall X)
• Terracotta Tiles
• Dedications of the 4th and 3rd centuries BC.

The Siphnian Treasury (Hall V)

Reconstruction of the Siphnian Treasury Façade credit: teachers.sduhsd.k12.ca.us	Upper torso of the south caryatid of the Siphnian treasury She is wearing an oblique ‘himation’ over a chiton with thin wavy pleats. Holes on the wavy hair-locks round the forehead served probably the insertion of either decorative metal attachments or perhaps curls of marble. The round outline of her face, the almond-shaped eyes and the rendering of her hair suggest a sculptor of insular origins, trained in the cultural centers of Ionia/Asia Minor. On top of caryatid's head a ‘kalathos’ is carved in relief with a Dionysian subject-matter showing Silens and Maenads. A lesbian moulding runs around the base of the kalathos. It is believed that the caryatid was made by the sculptor responsible for the east and north sides of the frieze of the Siphnian treasury, whereas the kalathos and the echinos were the work of the artist who carved the west and south sides.
Head of the south caryatid of the Siphnian treasury	Head of the south caryatid of the Siphnian treasury The ‘kalathos’ in relief on top of caryatid's head. It is based on a Dionysian subject-matter showing Silens and Maenads. A lesbian moulding runs around the base of the kalathos.
The treasury of the Siphnians: Decoration of the façade Relief bands with superb decorative patterns (mouldings, palmettes, lotus flowers, rosettes), marble lion-heads at the eave-gutters, figurative frieze, sculpted pediments and apex figures (See also following photos)	The treasury of the Siphnians: Decoration of the façade Relief bands with superb decorative patterns (mouldings, palmettes, lotus flowers, rosettes), marble lion-heads at the eave-gutters, figurative frieze, sculpted pediments and apex figures (See also following photos)
The treasury of the Siphnians: Decoration of the façade Relief bands with superb decorative patterns (mouldings, palmettes, lotus flowers, rosettes), marble lion-heads at the eave-gutters, figurative frieze, sculpted pediments and apex figures (See also following photos)	The treasury of the Siphnians: Decoration of the façade Relief bands with superb decorative patterns (mouldings, palmettes, lotus flowers, rosettes), marble lion-heads at the eave-gutters, figurative frieze, sculpted pediments and apex figures (See also following photos)
The treasury of the Siphnians: Decoration of the façade Part of the marble rain gutter with relief palmettes and lotus blossoms that are interrupted by the spout through which water drained from the roof (See also following photos)	The treasury of the Siphnians: Decoration of the façade Part of the marble rain gutter with relief palmettes and lotus blossoms that are interrupted by the spout through which water drained from the roof (See also following photos)
The treasury of the Siphnians: Decoration of the façade	The treasury of the Siphnians: Decoration of the façade Relief bands with superb decorative patterns (mouldings, palmettes, lotus flowers, rosettes), marble lion-heads at the eave-gutters, figurative frieze, sculpted pediments and apex figures.
The east pediment of the Siphnian treasury (525 BC.) Please scroll to see it all! Apollo and Heracles disputing about the Delphic tripod.	East side of the frieze of the Siphnian treasury (525 B.C.) Assembly of the gods. This is actually part of the frieze. The gods are seated, watching the battle between the Trojans and the Greeks, a scene that succeeds this one to the right. To the left are the pro-Trojan gods, Ares fully armed, two goddesses and Apollo. After the not preserved part, there follow the pro-Greek gods: Athena, Hera and, possibly, Thetis. The gap in the middle is due to that the two photos merged to make this one did not cover the whole length of the scene; there are some 10 cm (3-4 inches) more of the unsculpted part in between the two preserved parts of this scene.
East side of the frieze of the Siphnian treasury (525 B.C.) Assembly of the gods. The pro-Trojan group of gods	East side of the frieze of the Siphnian treasury (525 B-C). Assembly of the gods (Detail).
East side of the frieze of the Siphnian treasury (525 B.C.) Assembly of the gods (Detail). The two goddesses have a conversation with Apollo, who has turned round on his seat to face them.	East side of the frieze of the Siphnian treasury (525 B-C): Assembly of the gods (Detail)
East side of the frieze of the Siphnian treasury (525 B.C.) Assembly of the gods. The pro-Greek group of gods. This photo and the previous one should be considered as a whole (Please also see the photo synthesis above)	East side of the frieze of the Siphnian treasury (525 B-C). Assembly of the gods (Detail).
East side of the frieze of the Siphnian treasury (525 B-C): Assembly of the gods (Detail)	East side of the frieze of the Siphnian treasury (525 B-C). Assembly of the gods (Detail).
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. This is the sculpted continuation of the same frieze	East side of the frieze of the Siphnian treasury (525 BC.). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 BC.). Greeks and Trojans fighting over a dead hero. (Detail)	East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)	East side of the frieze of the Siphnian treasury (525 BC.). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)	East side of the frieze of the Siphnian treasury (525 BC.). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)	East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)	East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero (Detail)	East side of the frieze of the Siphnian treasury (525 BC.). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)	East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)
East side of the frieze of the Siphnian treasury (525 B-C). Greeks and Trojans fighting over a dead hero. (Detail)	East side of the frieze of the Siphnian treasury (525 BC.). Greeks and Trojans fighting over a dead hero. (The whole frieze photographed from its end) The beginning of the North frieze, depicting the Gigantomachy, can also be seen. The North frieze itself can be seen in detail in our next album page.
Siphnian Treasury West Frieze Panorama (Please scroll the photo to see it all) TAccording to the myth this story started at the wedding of Thetis and Peleus, when Eris (Discord), in revenge for not being invited, tossed a golden apple among the wedding guests on which was written: 'For the fairest'. Immediately a quarrel broke out between Aphrodite, Athena and Hera all of whom claimed the apple; Zeus assigned Paris, the prince of Troy, to be the judge. The few figures preserved from the west side of the frieze lead to the assumption that here the subject was the prementioned judgment of Paris at the beauty contest among Athena, Aphrodite and Hera. He voted for Aphrodite and, in return, earned the most beautiful woman in the world, Helene of Sparta, wife of king Menelaos. It was her abduction that triggered the Trojan War. First of the contestants is goddess Athena, who appears as if she is mounting her winged chariot. Hermes frames the scene to the left. Aphrodite is graciously stepping off her own chariot, touching her necklace with a coquettish gesture. The missing part of the frieze would feature Hera, ready for departure after her unsuccessful participation. Last would be the judge Paris. Thus the theme on the west side constituted an introduction to the theme on the east side, related to the Trojan War, which is photographed above.	Siphnian Treasury West Frieze: Hermes in front of the winged horses on Athena's chariot. The beginning of the west frieze of the Treasury of the Siphnians, representing the judgement of Paris, i.e. the contest judged by Paris, to determine which of the goddesses Athena, Aphrodite and Hera was the fairest.
Siphnian Treasury West Frieze: Winged Athena is mounting her chariot... ...obviously to depart defeated after the unequal competition with Aphrodite. She is wearing her characteristic aegis with the tassels in the form of coiled snakes around the edge.	Siphnian Treasury West Frieze: Female figure descending from a chariot with studied grace. Detail from the scene of the Judgement of Paris on the west frieze of the Treasury of the Siphnians. This is the central figure of the frieze on the façade of the building with the two caryatids; it has been interpreted as Aphrodite descending from her chariot holding the reins or arranging her necklace in a coquettish gesture. She is wearing a diadem in her hair and her ear is covered by an octagonal ornament. In any event, it was the movement of this female figure from the west frieze of the Treasury of the Siphnians that poet George Seferis had in mind when writing his impressions of the Museum of Delphi: "A vibrant thigh, as the knee bends for a woman to descend from a chariot. Such fragments from a life that was once whole are stirring bits very familiar to us, at one moment our own, and then mysterious and inaccessible." (G, SEFERIS, Essays, "Delphi", 1961)
Siphnian Treasury West Frieze: The horses dragging the chariot of Aphrodite's	Siphnian Treasury West Frieze: Hera is getting on her chariot Like Athena, in the beginning of the Frieze, goddess Hera is leaving the beauty contest
The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession (Please scroll to see it all!) The fragmentary state of the south frieze slabs prevents its restoration and the certain identification of its theme. A procession with four-horse chariots, riders and horses unfolds from left to right. Perhaps the theme of the frieze concerned mythical abductions of women by heroes and demigods, such as the rape of Hippodamia by Pelops and that of Phoebe and Ilaera, daughters of Leucippus, by the Dioscuri. The chariots are carrying young women and are accompanied by riders. Two horses follow the chariot, galloping sedately. They are led by a nude man, perhaps one of the two Dioscuri, who is riding one horse and holding the second one by the reins. The horses are rendered naturalistically in terms of the folds of the skin on the neck and knees. The human figures are flat, i.e. more drawn than sculpted, a feature that lends the whole scene a painterly character. This is visible on the west frieze as well, in contrast with the sculpturality and narrative spirit that distinguishes the other two sides with the Gigantomachy and the assembly of the gods. For this reason, two artists’ workshops are believed to have worked on the frieze with the supervision of two sculptors who, in addition to the new material, the island marble, brought to Delphi the art of Ionia, but with different traditions and influences. (www.latsis-foundation.org)	The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession
The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession Scene with a four-horse chariot. The horses have come to a halt in front of an altar. On the left, the hand of the charioteer can be discerned and the ends of the reins he was holding.	The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession Scene with a four-horse chariot. The horses have come to a halt in front of an altar. On the left, the hand of the charioteer can be discerned and the ends of the reins he was holding.
The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession	The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession
The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession The final group of horses	The south frieze of the Siphnian treasury (525 B.C.) Equestrian procession The end part of the south frieze: two horses and a horseman.

• Delphi Archaeological Museum: Why this album?
• Museum Plan: Where to find what
• The Prehistoric Dedications (Halls I - II)
• The Early Dedications
• The Golden Age of Delphi: The First Monumental Votive Offerings. The Twins of Argos (Hall III)
• The Golden Age of Delphi, The Early Architectural Sculptures: The Monopteros of the Sikyonians (Hall III)
• The Golden Age of Delphi: The Sphinx (Hall V)
• The Siphnian Treasury (Hall V)
• The Siphnian Treasury: The North side of the frieze (The Gigantomachy - Hall V)
• Dedications of the 5th century B.C.: The Charioteer (Hall XIII)
• The Treasury of the Athenians
• The Buried Treasures: The Chryselephantine Statues (Hall IV)
• The Buried Treasures: Decorative Ivory Reliefs (Hall IV)
• The Buried Treasures: The Silver Bull (Hall IV)
• Small Scale Bronze Sculptures from the Repositories
• The Glorious Temple (The Archaic Temple of Apollo - Hall VI)
• The Temple of Apollo in Classical Times (Hall VI)
• The Sanctuary of Athena Pronaia, the Τholos (Hall X)
• Terracotta Tiles
• Dedications of the 4th and 3rd centuries BC.