archaeological museum of delphi

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Archaeological Museum of Delphi:

The statue of Antinoos:

This well preserved sculpture (only the forearms are lacking) portrays Antinoos, the youth from Bithynia whom Emperor Hadrian loved passionately until his premature death. Antinoos’s long hair was crowned by a wreath, of which there are indications of a band with leaves of a different material. This work exemplifies the evolution of ancient portraiture. Its melancholy beauty, the graceful angle of the head and the high polish of the marble surface embody the spirit of the Roman Imperial age, when there was a tendency to revive ancient Greek ideals. This most moving portrait of Antinoos was placed in the Delphi sanctuary by decision of the Amphictyons (presidents of the Pythian games) and of Aristotimos the priest. Antinoos drowned in the Nile in 130 AD and was subsequently proclaimed a god by Hadrian, who had statues and busts of the beloved youth placed in various cities and sanctuaries of the Roman empire, and established his worship, which included rituals and games in his honour.

Auriga (detail of The Charioteer of Delphi, 478 or 474 BC)  from the series:   “Il tempo grande scultore"That Mighty sculptor, Time

Photographer:  Giovanni Ricci Novara


From Wiki: The Charioteer of Delphi, also known as Heniokhos (Greek: Ηνίοχος, 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 sculptures. The life-size (1.8m) statue of a chariot driver was found in 1896 at the Sanctuary of Apollo in Delphi. It is now in the Delphi Archaeological Museum.



Chryselephantine Sculpture - Thought to be a depiction of Apollo Fire-blackened ivory with gold on a wooden core — Greek — 6th Century BCE — belonging to the Delphi Archaeological Museum, Greece

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Archaeological Museum of Delphi:

Remnants of three chryselephantine statues depicting perhaps the Delian triad- Apollo, Artemis, Leto. The statues were riveted to a wooden core with the faces, hands and feet rendered in ivory with golden decorations and jewellery. Apollo’s and Artemis’ features have been restored with wax but retain their original characteristics. The statues are probably the work of an Ionian or Samian workshop (6th century B.C).

They were discovered in 1939, after the grand excavation among other offerings from the cities of Ionia. The building within they were kept had been destroyed in the 5th century B.C. The finds were found amidst charcoal and ashes.

Apollo, wearing a laurel wreath and holding a kithara, pours a libation.  He is accompanied by a black bird that has been variously identified as a pigeon, jackdaw, crow, or raven.  Tondo of an Attic white-ground kylix attributed to the Pistoxenos Painter; ca. 460 BCE.  Found in a grave at Delphi; now in the Archaeological Museum of Delphi.

Delphi Archaeological Museum. Head gold and ivory statue of a woman with gold diadem (probably Artemis).

Αρχαιολογικό Μουσείο Δελφών . Κεφάλι χρυσελεφάντινου γυναικείου αγάλματος με χρυσό διάδημα, (πιθανόν της Άρτεμης).

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Archaeological Museum of Delphi:

Torsos of running women. The women decorated the corner acroteria of a building within the sanctuary of Athena Pronaia (mid-4th century B.C)

Archaeological Museum of Delphi:

White-ground kylix, found in a tomb at Delphi. Work of an anonymous athenian vase-painter. On white ground, Apollo is depicted crowned with a wreath of myrtle leaves sitting on a stool with legs in the form of  lion paws. He is dressed in a white peplos and he is draped within a red himation. With his left hand he is plucking the the chords of his lyre, while with his right hand he is offering a wine libation from a navel-phiale. The black bird accompanying him is probably a crow, a reference to his mythical love for Aigle-Koroni, the daughter of king Phlegyas. (480-470 B.C)

Archaeological Museum of Delphi:

Ivory statuette dubbed as “Master of the beasts”. It depicts probably a god or a hero, possibly Apollo, taming a wild animal. The statuette decorated a piece of furniture, or a wooden utensil. It has strong eastern influences and it possibly comes from a workshop in Asia Minor, but it is the work of a greek artisan as indicated by the meander on the base. (7th century B.C)

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Archaeological Museum of Delphi:

Bronze incense burner. A young woman wearing a long peplos and reticulated head-dress holds up a hemispherical cauldron in which the incense was placed. A pierced lid covers the top of the vessel. A most exquisite creation, most probably the work of a Parian workshop. (460-450 B.C)

Archaeological Museum of Delphi. Head of gold and ivory statue probably depicting Apollo. 6th century. B.C.

Αρχαιολογικό Μουσείο Δελφών. Κεφαλή χρυσελεφάντινου αγάλματος που πιθανόν παρίστανε τον Απόλλωνα. 6ος αι. π.Χ.

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Archaeological Museum of Delphi:

A bronze votive of an athlete, from a Cretan workshop (620 B.C)

Ηeads of griffins from the decoration of votive tripods (7th century B.C)

A bronze votive of a flute player- the double flute is fastened with a leather strap around the head of the musician, from a Corinthian workshop (500-490 B.C)

Archaeological Museum of Delphi:

The “melancholy Roman”

Many art historians have identified this work as the head of the Roman general and consul Titus Quinctius Flaminius, who in 197 A.D following his victory over Philip V of Macedonia proclaimed at Corinth the autonomy of the Greek states. At Delphi he was honoured not only as the guarantor of Greek independence from Macedonian rule, but also because he had made valuable offerings to the sanctuary. The aforementioned identification is based on comparisons of the portrait with coins depicting Flaminius, but it has been disputed and other suggestions have been offered.

Whoever the young man with the melancholic face is- Greek, or Roman, philosopher, or state official- the artist has left us an exceptional work that stands out in the history of greek portraiture.