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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: Decorative Ivory Reliefs (Hall IV)

Some two thousand fragments of ivory were collected from the two depositories, and after many years of painstaking work they were reassembled and restored to their individual figures or compositions. The processing of the verso showed that they had constituted decorative facing on wood and bronze chests or furniture, perhaps a throne. They were offerings whose fragile material made it necessary to keep them in one of the treasuries in the sanctuary.

The most ancient of these is a statuette of a god or hero, perhaps Apollo, who has tamed a wild animal. It is an excellent specimen of the art of Asia Minor with strongly Oriental influences, but was made by a Greek technician as indicated by the meander (Greek key) motif on the base of the figure. Proposals for its dating range between the 8th and 6th century.

Masterpieces of miniature art were created with carved figures standing on a thin band cut around the outline (ajouré technique). In some of these we recognize rare mythological scenes, such as the episode from the Argonaut expedition with the sons of Boreas and the Harpies, made up of about forty fragments. On their journey to distant Colchis, Jason and his companions landed on the coast of Thrace, because they had encountered unfavourable winds or, according to another tradition, because they wanted information about the route they should take to reach their destination. This place was ruled by old king Phineus, whom the gods had blinded to punish him for a profane act, condemning him to the endless torment of never enjoying his food because two terrible winged women called Harpies would snatch or soil the blind king's food. Among the heroes on the expedition were the two sons of Boreas, who were also winged. They chased off the Harpies thereby delivering Phineus from his torment; he rewarded them for this benevolent act by ensuring them fair winds for their voyage and advising the Argonauts how to get through the Symplegades. The plaque depicts the Harpies being chased away by the sons of Boreas.

The scene of the departing warrior was also a favourite motif in Archaic art, especially in pottery painting. Sometimes the warrior is accompanied by his name, but more frequently he is anonymous. Here the warrior, perhaps Amphiaraus, the mythic king of Argos who took part in the Argonaut expedition, is mounting his chariot on which the charioteer is already standing, while his comrades are ready to follow him. (Text credits: Prof. Rosina Colonia, EFG Eurobank Ergasias S.A. / John S. Latsis Public Benefit Foundation)



Relief representations of mythological scenes carved from the bone of exotic oriental animals, such as elephants and hippopotami. They formed part of the overlay of wooden boxes, a throne or piece of furniture. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals, such as elephants and hippopotami. They formed part of the overlay of wooden boxes, a throne or piece of furniture. Archaic period.


1. Ivory statuette of a deity or hero, perhaps Apollo, taming a wild animal (in the "master of animals" pose). In his right hand he holds a spear, while his left hand rests on the animal's head. The figure stands on a base decorated with meander. Its flat rear surface suggests that the figurine decorated some piece of furniture or wooden object. A fine example of the art of Asia Minor with strong oriental influence, it was created by a Greek artist. Sec. half of the 7th c. BC.
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


Same statuette as in the previous photo
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


2. Fragments of two antithetical bulls. 6th c. BC.
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


3. Scene depicting mythical battle; Around 570 BC.
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


4. Scene depicting mythical battle; Around 570 BC.
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


5. Departure of a warrior on a four-horse chariot, perhaps the mythical king of Argos Amphiaraos, who participated in the expedition of the Argonauts. The product of an Ionian workshop. Around 570 BC.
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


6. Episode from the Argonauts' expedition: the two sons of Boreas are chasing the Harpies, the two winged figures who snatched and fouled the food of Phineus, the king of Thrace, who was thus condemned by the gods never to enjoy his food. Phineus' hand can be seen on the small table to the left. Masterpiece of miniature art, created in a Corinthian workshop. Around 570 BC.
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


7. Mythological scene. Some of the fragments preserve traces of gilding. Around 570 BC.
Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.

Relief representations of mythological scenes carved from the bone of exotic oriental animals. Archaic period.


8. Scene depicting a mythological battle. Around 570 BC.
Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.

Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.


3. Battle scene probably from the fall of Troy
Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.

Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.


4. War chariot
Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.

Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.


5. Battle scenes; some warriors hold shields decorated with an incised eagle while their adversaries hold shields with a band on the inside, for securing the armor on the forearm.
Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.

Relief representations of mythical battles carved from exotic animal bone. They would have formed part of the overlay of a wooden chest, throne or piece of furniture. 6th c. BC.


6. Battle scenes; the warriors hold swords or 8-shaped shields, while one of them is carrying a wounded or dead fellow-combatant.
Cut-out ivory plaques distinctly influenced by Egyptian art

Cut-out ivory plaques distinctly influenced by Egyptian art


28. Heads
32. Ivory plaque representing the Sphinx, a mythical monster having the head of a woman, the body of a lion and the wings of a bird of pray.
Window exhibiting finds from the two depositories

Window exhibiting finds from the two depositories
Window exhibiting finds from the two depositories

Window exhibiting finds from the two depositories


25. Pair of ivory sphinxes with the same head, from a piece of decorative overlay.
Parts of chryselephantine statuettes

Parts of chryselephantine statuettes


15-17. Ivory heads

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