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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Dedications of the 4th and 3rd centuries BC.The Column with the 'Dancers'Sculptural group offered by the Athenians circa 330 BC, perhaps within the framework of celebrations marking the arrival at Delphi of the procession of Athenian pilgrims, the Pythais. Family votive offering of Daochos IIOn the long rectangular pedestal stood nine statues: one of Apollo (non-extant) and eight of others depicting members of the dedicator's powerful Thessalian clan (himself, his ancestors and his son) who were famous for their valiant deeds in politics, the military and athletics. We know the names and glorious achievements of the men represented from the epigrams incised below each statue on the pedestal front. Despite the linear array of the figures, each stands out for its different posture and garments. At the same time however, the symmetrical or antithetical correspondence in the motion of the bodies, gestures and head-tilting imparts a strong aspect of unity to the statuary group. These statues represented, in genealogical order, six generations of a family of Thessalian landowners, whose achievements starting in the early 5th century paved the way for the magnificent donor, Daochos II. The best preserved of the group is the statue of Aghias, son of Aknonios. great-grandfather of Daochos ll, champion in the pankration (contest combining wrestling and boxing) and victor of many Pan-hellenic games in the 5th century BC. This sculpture is of particular importance for art history not only on account of its outstanding artistic quality but also because of its association with the art of Lysippos. The great sculptor of Sikyon had created a bronze statue of Aghias, which bore an inscription, found at Pharsalus, and is identical to the epigram on the pedestal of the statue of Aghias at Delphi. It is believed therefore that the statue of Aghias at Delphi, even if it is not an exact copy of the original by Lysippos, originates from Lysippos' workshop and -as a 4th century BC work- sheds light on the artistic trends of that period. The status of each figure is differentiated by pose, anatomy and dress. The political officials (Aknonios and Daochos I) are wearing the national dress of the Macedonians and Thessalians; the dress and gesture of Sisyphos I convey the traits of a military officer who gives orders; while the nudity of the three athletes, Agias, Telemachos and Agelaos, underscores their physical prowess. Rather than individualizing the persons depicted, these features portray them as idealized representations of social types, each with its characteristic attribute.
The Column with the 'Dancers'
The column was so named because of the dancing impression created by the stance of the women, who, after being interpreted as Thyiads, the local name for the Maenads (women in Dionysus entourage who danced on Mt. Parnassus). It is now believed, however, that the figures represent the three daughters of Cecrops (legendary king of Athens, offering to Apollo his favorite symbol, the tripod. According to the inscription on its base, the sculptural group was offered by the Athenians circa 330 BC, perhaps within the framework of celebrations marking the arrival at Delphi of the procession of Athenian pilgrims, the Pythais. The latest theoretical restoration of the monument places at its top the omphalos, shown underneath, as a covering of the Sacred Tripod, which completes the symbolic significance of the Athenian offering. |
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The Column with the 'Dancers' |
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The bottom part of the column with the 'Dancers' |
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The Column with the 'Dancers' (detail) |
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The Column with the 'Dancers'. Portrait of one of the figures. |
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The 'Navel of the Earth'
Marble copy of the original |
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The 'Navel of the Earth' (Detail) |
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The family votive offering of Daochos II
Multi-figure group of marble statues dedicated to Apollo by Daochos II, an official from Pharsalus who served as Thessaly's delegate at the Delphic Amphictyony from 336 to 332 BC. |
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The family offering of Daochos II
Aghias, son of Aknonios. Great-grandfather of Daochos B’, pankration (combination of wrestling and boxing) champion at many Panhellenic games in the 5th century BC. In the idealized portrait of the athlete, one can discern similarities in style and workmanship with the best known work of Lysippos, the Apoxyomenos (young athlete scraping oil from his body). |
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The family offering of Daochos II
Same sculpture as in the previous photo |
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The family offering of Daochos II
Agelaos, son of Aknonios. Younger brother of Aghias, a champion sprinter. His well toned, youthful body and slender, muscular legs accurately represent the physical traits of a runner. |
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The family offering of Daochos II
Nude torso attributed to the statue of Telemachos, son of Aknonios, on the Daochos pedestal. The brother of Aghias. he was Olympic wrestling champion in 440 BC. The muscular anatomy accurately represents the strong, well-trained body of a wrestler. |
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The family offering of Daochos II
Same sculpture as in the previous photo |
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The family offering of Daochos II
Sisyphos, son of Daochos (Sisyphos II). Son of the dedicator, the youngest member of the Thessalian family. His left elbow is resting on a herm. |
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Marble statue of a smiling girl
The head has been separately applied on the body. Early Ηellenistic period (early 3rd century BC). |
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Marble statue of a smiling girl |
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Sleeping Eros
The tiny Eros has fallen asleep on a rock. Statue from the sculpted decoration of a fountain. Early 2nd century BC. |
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Statue of Apollo as a cithara-player
He is wearing a long chiton and a peplos, whilst a cloak is draped over his shoulders. He held the cithara in his right hand and the plectrum in his left. Modelled after the type of Apollo Patroos by the sculptor Ephranor. Early Hellenistic period, 3rd century BC. |
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Four statues from a family group
To the left there is a statue of Dionysus whom the family of donors is addressing. Approximately 270 BC. Behind the exhibited statues there is a wall photograph of the first outdoor museum in Delphi, where these statues were erected near the site from which they were unearthed in the excavation. The statues in today's museum are clearly recognized in the photo. |
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Four statues from a family group
Here is photographed the rest of the background photo on the wall |
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Four statues from a family group |
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Four statues from a family group |
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Roman Head |
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Roman Head |
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Roman Head |
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A Philosopher's Head |
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A Philosopher's Head |
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