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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)


Photos will be gradually added in the near future

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The Early Dedications

In the late 8th century BC, together with offerings from all over Greece, the first imports from the East began arriving at Delphi, brought by Greek seafarers from the Asian hinterland via Greek trading posts and settlements in northern Syria (Al Mina, Tyre) and the intermediate islands of Crete, Cyprus and Rhodes. In the following century, the Sanctuary of Apollo was inundated with magnificent items of metalwork featuring new techniques and strange decorative motifs, which came either from the countries of the Near East - as represented by the ancient cultures of the Assyrians, Hittites and Urartians (Armenia) - or were imitations of eastern prototypes.

Foremost among the eastern offerings was the new type of cauldron, which was set on a separate tripod stand of cast rods, its rim decorated with bullheads or protomes of mythical creatures, griffins and sirens (so named because of their likeness to the winged figures described in the adventures of Odysseus). A number of finds-including shields with repoussé decoration (nrs. 1, 6, 7) and square stands of vessels with figures in openwork (nrs. 2-4), similar to artefacts found in Crete and Cyprus, or the lion's paw with Cypriot inscription (nr. 5) - reveal the relations with the two islands, crossroads of Greek and Eastern cultures. The special relationship between the Delphic sanctuary and Crete is also evident in the Homeric hymn to Apollo, which reveals that the god recruited the first priests for his temple from among Cretan mariners.

Other finds from Phrygia, as well as areas into which the Phoenicians had expanded, complete the picture of the relations existing between Delphi and the Eastern World, as reflected by the inscriptions and literary testimonies referring to the fabulous gifts and honors bestowed on the Sanctuary of Apollo by eastern potentates such as the Egypian pharaoh Ahmose II (Amasis), King Midas of Phrygia and King Gyges of Lydia.

Otherwise, there are also votive bronze animal figurines dating to the 8th c. BC. We recognize horses, bovine, rams, pigs, which usually stood on slab-shaped bases either pierced or solid (nos. 4-10, 17, 21). The underside of the bases was often decorated with relief wavy lines (no 2, 3) or other linear motifs. The little pig (no 1) of the Protogeometric period is the earliest of all, whereas the latest is the bull (no 21) of the end of the 7th c. BC., which is 'walking' on a plaque. Next to the quadruped with curved horns (no 7), which also stands on a plaque, is preserved part of the leg of a human figurine, possibly of the shepherd. The details of the face and mane on the - also of the geometric period - horse (no 20) were rendered by incision.



Bronze cauldron

Bronze cauldron


Bronze cauldron on a separate tripod of iron rods ending in bronze oxen claws. The cauldron and its stand originally belonged to two different tripods but they have been fitted together to represent the new type of tripod, which predominated in the 7th c. BC. The rim of such tripods was often decorated with attached heads of griffins and sirens.
Bronze cauldron

Bronze cauldron


Another photo of the same cauldron
Bronze Handles and legs of Tripod Cauldrons

Bronze Handles and legs of Tripod Cauldrons


The legs of this kind of tripod stand were forged or cast in one-piece with the cauldron.

Top left: 1. Handle decorated with rape pattern. Second half of 8th century BC.

Bottom left: 15. Tripod leg preserved intact, displaying traces of its joint with the cauldron, Late 9th- early 8th century BC.

Bottom middle: 16. Tripod leg preserved almost intact, with part of the cauldron to which it was attached. All sides of the leg were decorated with running spirals or semicircles. Second half 8th century BC.

Right middle: 17. Top part of tripod leg, decorated with embossed chevron pattern and perforated sheet at the joint with the cauldron. First half 8th century BC.

Bottom right: 22. Part of tripod leg with embossed chevron pattern on all sides. 8th century BC.

17. Top part of tripod leg, decorated with embossed chevron pattern and perforated sheet at the joint with the cauldron. First half 8th century BC.

17. Top part of tripod leg, decorated with embossed chevron pattern and perforated sheet at the joint with the cauldron. First half 8th century BC.
18. Top part of Tripod leg. All sides were decorated with embossed running spirals and semicircles. Second half 8th century BC.

18. Top part of Tripod leg. All sides were decorated with embossed running spirals and semicircles. Second half 8th century BC.
20. Part of tripod leg with embossed cross pattern. Second half 8th century BC.

20. Part of tripod leg with embossed cross pattern. Second half 8th century BC.
21. Part of tripod leg with embossed rosette and chevron pattern on all sides. Second half 8th century BC.

21. Part of tripod leg with embossed rosette and chevron pattern on all sides. Second half 8th century BC.
22. Part of tripod leg with embossed chevron pattern on all sides. 8th century BC.

22. Part of tripod leg with embossed chevron pattern on all sides. 8th century BC.
Bronze Ηandles of Τripod Cauldrons

Bronze Ηandles of Τripod Cauldrons


The legs of this kind of tripod stand were forged or cast in one-piece with the cauldron.

2. Handle and rim part from a large cauldron with a decorative horse figurine riveted on top, First half of 8th century BC.
3. Perforated handle surmounted by decorative attachment in the form of a stylized bird, Mid-8th century BC.
4. Handle, surmounted by bull's head, with decorative wheels flanking its joint with the cauldron rim. Second half 8th century BC.
5-6. Perforated and solid handles decorated with running spirals. Late 8th century BC.

5-6. Perforated and solid handles decorated with running spirals. Late 8th century BC.
Bronze 'tripod' legs which formed a non-detachable part of the cauldron they supported

Bronze 'tripod' legs which formed a non-detachable part of the cauldron they supported


17. Top part of tripod leg, decorated with embossed chevron pattern and perforated sheet at the joint with the cauldron. First half 8th century BC.
19. Top part of tripod leg, with holes for riveting to the cauldron. The head of a winged female figure (Mistress of Animals) can be discerned in the relief decoration. Early 7th century BC.
Decorative Bronze Attachments of Cauldron Handles

Decorative Bronze Attachments of Cauldron Handles


Exh11-14. Horse figurines which probably flanked the handles riveted on cauldron rims. First half 8th century BC.
Cauldron fittings detached from their stands: Griffin protomes

Cauldron fittings detached from their stands: Griffin protomes


The griffin is a mythological creature in the form of a bird of prey, having apotropaic significance and the symbolic purpose of warding off evil spirits. Its protome became established as a decorative attachment on the rim of bronze cauldrons. This decorative motif originated in the east and was subsequently modified in Greek workshops. The earliest griffin protomes - dating from the late 8th century BC - were forged, whilst after 700 BC the casting technique was applied. Some griffins are decorated with an incised scaly pattern with a mane of spiral curls starting from behind the ears and reaching the neck, while the eyes were often inlaid.
This specific cast exhibit has an open beak, curved pointed tongue, upright ears and a club-like projection on its head. Its cheeks are decorated with spiral curls. Its eyes were inlaid. 7th century BC.
Cauldron fittings detached from their stands: Griffin protomes

Cauldron fittings detached from their stands: Griffin protomes


This bust is of hammered bronze and served as decoration to th erim of the new cauldrons from the East, replacing the Geometric type. This new cauldron could be moved independently of its base.
Nr6-7 Cauldron fittings detached from their stands: Griffin protomes

Nr6-7 Cauldron fittings detached from their stands: Griffin protomes


Cast bronze
Cauldron fittings detached from their stands: Griffin protomes Nr 12, 13, 14, 15

Cauldron fittings detached from their stands: Griffin protomes Nr 12, 13, 14, 15


Of cast bronze
Exh1. Bronze votive shield

Exh1. Bronze votive shield


The forged sheet was riveted on a piece of wood or leather. In the middle was the projecting protome of a lioness surrounded by relief representations of animals, which suggest strong eastern influence. Similar shields have been found in the Idean Cave on Crete. Circa 700 BC.
Exh2. Part of the Bronze Stand for a Vessel

Exh2. Part of the Bronze Stand for a Vessel


Bronze stand of the Cypriot type, comprising four legs and a ring for supporting the vessel. The legs were connected by metal meshwork with openwork decoration with Red Deer or Roe Deer. Late 8th century BC.
Exh3. Fragment of a horse from a bronze stand of the Cretan-Cypriot type. 8th century BC.

Exh3. Fragment of a horse from a bronze stand of the Cretan-Cypriot type. 8th century BC.
Exh4. Part of Bronze Support for a Vessel

Exh4. Part of Bronze Support for a Vessel


Part of the bronze support for a vessel with lacey openwork decoration. A intricate meshwork is formed between the legs of the support with representation of rams. Cretan-Cypriot work. Late 8th century BC.
Exh5. Tripod leg in the form of a lion's paw

Exh5. Tripod leg in the form of a lion's paw


With dedicatory epigram in the Cypriot syllabic script. First half of the 7th century BC.
Exh6. Bronze votive 'Herzsprung' shield

Exh6. Bronze votive 'Herzsprung' shield


Named after the homonymous area of northern Europe, where such a shield was found. It has embossed decoration of concentric circles and acute angles. The earliest examples of this type were found in Cyprus, as grave offerings. At Delphi such shields had a votive character. Late 8th century BC.
Exh7. Bronze votive shield.

Exh7. Bronze votive shield.
Exhibits 8,9,10,11,12

Exhibits 8,9,10,11,12


Exh8-9. Phrygian bronze fibulae. Early 7th century BC.
Exh10. Part of a bronze bridle, with decoration characteristic of eastern art First half of the 7th century BC. (Number 10 not clearly visible in the photo)
Exh11. Bronze full-bodied quadruped siren of oriental creation. Probably a vessel attachment. 7th century BC.
Exh12. Bronze female head, probably of a siren. 7th century BC.
Exh11. Bronze full-bodied quadruped siren of oriental creation. (Shown also in the previous photo)

Exh11. Bronze full-bodied quadruped siren of oriental creation. (Shown also in the previous photo)


Probably a vessel attachment. 7th century BC.
Fragments of the cauldrons and their supports

Fragments of the cauldrons and their supports


13. Sea-shell carved as a siren, with inched details on the face and wings. The work of a Phoenician workshop, 8th century BC.
14. Double-faced siren displaying oriental influence. Probably a vessel attachment 725-700 BC.
15-17. Bronze handles of bowls, arch-shaped with a lotus flower on top. From a Cypriot-Phoenician workshop, 8th century BC.
20. Bronze phiale with relief representation on the inside depicting the siege of a town around a central rosette. Four archers defend the town from the bafflement. A chariot is being drawn by a winged sphinx. The work of a Phoenician workshop, influenced by Egyptian art Late 8th century BC.
Exhibits 13,14,15,16

Exhibits 13,14,15,16


Exh13. (Front right) Sea-shell carved as a siren, with inched details on the face and wings. The work of a Phoenician workshop, 8th century BC.
Exh14. (Front left) Double-faced siren displaying oriental influence. Probably a vessel attachment 725-700 BC.
Exh15-16. Bronze handles of bowls, arch-shaped with a lotus flower on top. From a Cypriot-Phoenician workshop, 8th century BC. (Label of number 16 not visible in the photo, hidden behind Exh13)
Exh13. Sea-shell carved as a siren, with inched details on the face and wings.

Exh13. Sea-shell carved as a siren, with inched details on the face and wings.


It appears in the previous photo of the whole window-shelf
Exh14. Double-faced siren shown in the previous photo

Exh14. Double-faced siren shown in the previous photo
Exh15-16. Bronze handles of bowls (Detail)

Exh15-16. Bronze handles of bowls (Detail)
Window with Exhibits 17, 18, 19, 21, 22

Window with Exhibits 17, 18, 19, 21, 22


Please refer to the following photos for detailed info
Exh17. Bronze handle of α bowl, arch-shaped with a lotus flower on top.

Exh17. Bronze handle of α bowl, arch-shaped with a lotus flower on top.


From a Cypriot-Phoenician workshop. 8th century BC.
Exh18. Fragment of a bronze phiale with lotus blossom and a bird perching on its top

Exh18. Fragment of a bronze phiale with lotus blossom and a bird perching on its top


Cypriot metalwork. Late 8th century BC.
Exh19. Fragment of a bronze phiale.

Exh19. Fragment of a bronze phiale.
Exh20. Bronze phiale with relief representation on the inside depicting the siege of a town around a central rosette.

Exh20. Bronze phiale with relief representation on the inside depicting the siege of a town around a central rosette.


Four archers defend the town from the bafflement. A chariot is being drawn by a winged sphinx. The work of a Phoenician workshop, influenced by Egyptian art. Late 8th century BC.
Exh21. Bronze strip from the periphery of a phiale or Cretan-type shield.

Exh21. Bronze strip from the periphery of a phiale or Cretan-type shield.


It bears relief decoration in two friezes with sphinxes and deer. Its drawn reconstruction was based on a photograph of the imprint left by the find on the ground. 8th century BC.
Exh22. Miniature bronze aryballos with decorative horizontal ribs. 750-725 BC.

Exh22. Miniature bronze aryballos with decorative horizontal ribs. 750-725 BC.
Window with 'Sirens'

Window with 'Sirens'


Mythical creatures with wings and heads of a woman. The were so named because they resemble the sirens in the Odyssey and were made by the casting technique. Some are of purely oriental origin (nos. 18, 21), while others are the products of Greek workshops (no 22). Originally they were used to attach vessel handles and for this reason had a ring on the back, through which the handle passed. However, they were eventually used simply as decorative items. Arranged in pairs, they were often interplaced between other daemonic figures such as griffins and lions. Late 8th - early 7th century BC.
Siren nr 18

Siren nr 18


Detail of the previous window photo
Siren

Siren


Detail of the previous window photo
Siren nr 23

Siren nr 23


Attached to a cauldron. Detail of the previous window photo.
Window-shelf with 'Sirens'

Window-shelf with 'Sirens'


Sirens Nrs 20, 22 and 25
Bronze Geometric Statuettes, 8th ce. BC.

Bronze Geometric Statuettes, 8th ce. BC.
Bronze Geometric Statuette, 8th ce. BC.

Bronze Geometric Statuette, 8th ce. BC.


Of the lot photographed in the previous picture
Bronze Geometric Statuette, 8th ce. BC.

Bronze Geometric Statuette, 8th ce. BC.


Of the lot photographed in a previous picture
Bronze Geometric Statuette, 8th ce. BC.

Bronze Geometric Statuette, 8th ce. BC.


Of the lot photographed in a previous picture
Bronze Geometric Statuette, 8th ce. BC.

Bronze Geometric Statuette, 8th ce. BC.


Of the lot photographed in a previous picture
Bronze Geometric Statuette, 8th ce. BC.

Bronze Geometric Statuette, 8th ce. BC.


Of the lot photographed in a previous picture
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibits 1-4 The little pig (Exh1) of the Protogeometric period is the earliest of all. The underside of the bases was often decorated with relief wavy lines (Exh 2, 3).
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibits 4-5 The figurines usually stood on slab-shaped bases either pierced or solid.
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibit 6.
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibit 7.
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibit 8.
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibit 9.
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibits 10-12.
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exh11-12.
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibits 12-13 (and part of Exhibit 14)
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibit 14
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibit 15
Votive bronze animal figurines dating to the 8th c. BC.

Votive bronze animal figurines dating to the 8th c. BC.


Exhibit 17
Votive Bronze Helmets

Votive Bronze Helmets


1-2. Votive bronze helmets of the Corinthian type with incised decoration of mythological representations (Europa on the Bull) and animals fighting. 7th century BC.

3-4. Votive bronze helmets of the Corinthian type. 6th century BC.
Votive bronze helmets

Votive bronze helmets


Exh1. Votive bronze helmet of the Corinthian type with incised decoration of mythological representations (Europa on the Bull). 7th century BC.
Votive bronze helmets

Votive bronze helmets


Exh2. Votive bronze helmet of the Corinthian type with incised decoration of animals fighting. 7th century BC.
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Their purpose was decorative, usually representing bulls, panthers, rams, lions, boars or bovine and they date from the Geometric to the Orientalising period, i.e. the 8th and 7th c. BC.
Exhibit 1. Cast bronze bullhead with incised details, from the decoration of a large cauldron or piece of furniture. End of the 7th c. BC.
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 2. Bronze bullhead of the 8th c. BC. The handle of the vase passed through the loop.
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 4. Bronze bullhead of the 8th c. BC. The handle of the vase passed through the loop.
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exh5. Bronze bullhead of the 8th c. BC.
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 6. Head with two faces, possibly from vase handle.
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 8. Boar head. Also visible exhibit 17, a Siren.
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exh 8. Boar head (Close-up)
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 11. Panther head
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 13. A lion protome
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 15. Couching bovine from cauldron rim
Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.

Full-bodied animals or animal-heads of bronze attached to the handles, rims or shoulders of vases.


Exhibit 18. Bronze handle of α vase in the form of α bull
Cast bronze appliques representing mythological scenes, which would have been riveted on some fixture or piece of furniture

Cast bronze appliques representing mythological scenes, which would have been riveted on some fixture or piece of furniture


1. Episode from the Odyssey: Odysseus or one of his companions, tied under the belly of a ram, is escaping from the cave of Polyphemos. Created in a Peloponnesian workshop. Second half of the 6th cent. BC.
Cast bronze appliques representing mythological scenes, which would have been riveted on some fixture or piece of furniture

Cast bronze appliques representing mythological scenes, which would have been riveted on some fixture or piece of furniture


2-3. Episode from the mythological cycle of Herakles. The hero is carrying the Erymanthian boar on his shoulders ...
Cast bronze appliques representing mythological scenes, which would have been riveted on some fixture or piece of furniture

Cast bronze appliques representing mythological scenes, which would have been riveted on some fixture or piece of furniture


2-3. ...as Eurystheus, the king of Argos, hides in fear in a large jar. Both this figure and the one in the previous photo were made in a workshop of the northeast Peloponnese. Late 6th cent. BC.
4. Bronze sheet with repoussé female figure wearing a tunic, himation and wreath. The details are rendered by incision. Second quarter of the 6th cent. BC.

4. Bronze sheet with repoussé female figure wearing a tunic, himation and wreath. The details are rendered by incision. Second quarter of the 6th cent. BC.
Cast bronze statuettes

Cast bronze statuettes


Part of the relevant window
Cast bronze statuettes

Cast bronze statuettes


Part of the relevant window
Cast bronze statuettes

Cast bronze statuettes


2. Bronze statuette of a kouros with well-articulated body and wreath decorating his long hair locks. Circa mid-6th cent. BC.
Cast bronze statuettes

Cast bronze statuettes


2. Bronze statuette of a kouros with well-articulated body and wreath decorating his long hair locks. Circa mid-6th cent. BC.
Cast bronze statuettes

Cast bronze statuettes


2. Bronze statuette of a kouros with well-articulated body and wreath decorating his long hair locks. Circa mid-6th cent. BC.
Same statuette photographed frontally.
Cast bronze statuettes

Cast bronze statuettes


3. Bronze statuette of a naked kouros displaying stylistic features of East Greek schools of sculpture. First half of the 6th cent BC.
Cast bronze statuettes

Cast bronze statuettes


4. Upper torso of a bronze statuette wearing a shorl-sleeved tunic. On account of its stance, the figurine has been attributed to a runner or maybe a dancer. Third quarter of the 6th cent. BC.
Cast bronze statuettes

Cast bronze statuettes


6-7. One of the two pairs of feet from bronze statuettes on rectangular slabs; the rivet holes suggest they were supported in turn on two larger bases. 6th cent. BC.
This is Exh Nr 6; also nr 7 appears in the previous photos.

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