English Section Greek Section Company Profile Our Philosophy Testimonials Contact Info Email Us Employment Homepage
Gift Registries Greece Guides Cultural Sites
Greek Islands
Greek Destinations
Search Destinations
Find Hotel
Name
Search
Outgoing packages
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)


Photos will be gradually added in the near future

Select Page of the Album:


Click on any of the pictures to enlarge.

Dedications of the 5th century B.C.: The Charioteer (Hall XIII)

The Charioteer of Delphi, also known as Heniokhos (the rein-holder), is one of the best-known statues surviving from Ancient Greece, and is considered one of the finest examples of ancient bronze statues. It is now in the Delphi Archaeological Museum. The discovery of the Charioteer in 1896, during the Grand Excavation, caused enthusiasm, since none of the rest of large-scale bronze complexes of the sanctuary of Delphi, described in literary and epigraphic sources, has survived. Many years later the Riace warriors and Poseidon from Artemision cape, bronze statues contemporary with and of equal artistic value as the Charioteer, where found at the bottom of the sea. Although the master sculptors of classical Greece worked mostly in bronze, we know of their creations via marble copies produced in the Roman period. Some of them may have been destroyed, whereas others must have been plundered during the Third Sacred War (356-346 BC), when the Phocians owned the sanctuary and transformed precious offerings in order to cover their military expenses. Works that had not been transferred to Rome during the Roman period, were probably recast by later inhabitants of the area, who needed metal to manufacture utensils.

There is an interesting legend about the Charioteer, which is often told by guides to the visitors to Delphi:
"It seems that during the 1890s before the start of excavations, when the French were in the process of clearing the town of Kastri off the site of the sanctuary, one matriarch in particular would not leave her little house to relocate to the new town then under construction. Her refusal was holding up the whole relocation project.

One morning she arrived at the house where the archaeologists were gathered and announced that she was ready to leave her house. When asked why she had so suddenly changed her mind, she reported a dream from the previous night. In her dream a boy who seemed to be trapped beneath the green sea called to her, 'Set me free! Set me free!' The dream frightened her and she thought it was an omen. When the excavations began, the Charioteer was discovered beneath the old woman's house".

The statue was erected at Delphi in 474 BC, to commemorate the victory of a chariot team in the Pythian Games, which were held at Delphi every four years in honor of Pythean Apollo. It was originally part of a larger group of statuary, including the chariot, four (possibly six) horses and two grooms. Some fragments of the horses were found with the statue. When intact, it must have been one of the most imposing works of statuary in the world.

An inscription on the limestone base of the statue shows that it was commissioned by Polyzalus, the tyrant of Gela, a Greek colony in Sicily, as a tribute to pete for helping him win the chariot race. The inscription reads: [P]OLUZALOS MA nETHÊK[EN] ...]ON AES EUONUM APOLL[ON], which is reconstructed to read "Polyzalos dedicated me. ... Make him prosper, honoured Apollo."

The Sicilian cities were very wealthy compared with most of the cities of mainland Greece and their rulers could afford the most magnificent offerings to the gods, also the best horses and drivers. It is unlikely, however, the statue itself comes from Sicily. The name of the sculptor is unknown, but for stylistic reasons it is believed that the statue was cast in Athens. It has certain similarities of detail to the statue known as the Apollo of Piraeus, which is known to be of Athenian origin.

The Charioteer himself is intact except that his left arm is missing. Greek bronzes were cast in sections and then assembled. When discovered, the statue was in three pieces—head and upper torso, lower torso, and right arm. The left arm was probably detached and lost before the statue was buried. This was probably done to protect it from looters, some time after the Sanctuary at Delphi was closed in the 4th century AD.

The statue is one of the few Greek bronzes to preserve the inlaid glass eyes and the copper detailing of the eyelashes and lips. The headband is of silver and may have been inlaid with precious stones, which have been removed.

The figure is of a very young man, as is shown by his soft side-curls. Like modern jockeys, chariot racers were chosen for their lightness, but also needed to be tall, so they were frequently teenagers. Charioteers who participated in panhellenic games were youth of noble origin, aristocrats like the owners of chariots and horses. Such an ephebe was the Charioteer of Delphi, who wears the typical sleeved tunic, long down to his thin ankles. Abroad belt tightens 'the tunic above waist, and two crossing straps at the back prevent the garment from billowing while the vehicle is speeding. The deep vertical pleats of the chiton resemble the flutes of a column, as opposed to the curvilinear pleats of the upper torso, which dissolve any impression of stiffness or rigidity. His head is slightly turned to the viewer's left and his long fingers are wrapped around the reins and probably the goad.

Stylistically, the Charioteer is classed as "Early Classical" or "Severe". The statue is more naturalistic than the kouroi of the Archaic period, but the pose is still very rigid when compared with later works of the Classical period. One departure from the Archaic style is that the head is inclined slightly to one side. The naturalistic rendering of his feet was greatly admired in ancient times. This sculpture displays several advancements on Archaic sculpting style - the introverted expression does away with the old 'Archaic smile' and he would not have been clothed in the Archaic period. His robes are a testament to the talent of the sculptor. There would have been a chariot to cover most of the waist and below, so not much interest is added to his robes, however the sculptor paid special attention to render every detail clearly discernible.



The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer
The Charioteer

The Charioteer


credit: Smaro Mendrinou
The Charioteer

The Charioteer


credit: Smaro Mendrinou
The Charioteer

The Charioteer


credit: Smaro Mendrinou
The Charioteer

The Charioteer


credit: Smaro Mendrinou
The Charioteer

The Charioteer
Representation of the whole complex of the Charioteer, as it may have appeared before it was destroyed

Representation of the whole complex of the Charioteer, as it may have appeared before it was destroyed

Select Page of the Album: