Ares_K
September 6th, 2009, 06:37 AM
Archaeological Museum of Delphi
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-3.jpg
The Archaeological Museum of Delphi, one of the most important in Greece, exhibits the history of the Delphic sanctuary, site of the most famous ancient Greek oracle. Its rich collections are comprised primarily of architectural sculpture, statues and minor objects donated to the sanctuary. These reflect its religious, political and artistic activities from its early years in the eight century BC to its decline in Late Antiquity.
The modern museum is housed in a two-storey building with a total surface area of 2270 square metres, with fourteen exhibition rooms, 558 square metres of storerooms and conservation laboratories for pottery, metal objects and mosaics. A new lobby, cafeteria and gift shop were created during the museum's latest refurbishment.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/ViewofthefirstmuseumsbuildingatDelp.jpg
Construction of the old museum
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/mouseioolymp.jpg
The old museum
The first Delphi Museum was built in 1903 on plans by the French architect Tournaire and funded by A. Syngros in order to house the finds of the great French excavations begun in 1892. The original building, which consisted of two wings, was enlarged and renovated in 1935-6. The new exhibition opened two years later and was organized like the first one by Greek and French archaeologists. A storeroom for inscriptions was constructed in 1956. The complete refurbishment of the museum in accordance with recent museological thinking, especially since many of the antiquities had been stored away during the Nazi occupation, was deemed necessary in 1958 and was carried out by the architect Patroklos Karantinos. Two new rooms, one for the Charioteer and the other for the bronze objects, were created, while the existing three were refurbished. Old storerooms were converted into offices and a guesthouse. A portico was built in front of the offices for the exhibition of Hellenistic statues, but was blocked in 1980 by new offices, while a new adjacent building containing more storerooms (for statues, vases and architectural elements) and laboratories, was added. The new exhibition was established between 1960 and 1963.
In 1975, part of the sculpture laboratory and storeroom was used for the exhibition of the bull and chryselephantine objects from the recently excavated votive deposit of the Sacred Way. The conversion was completed and the exhibition inaugurated in 1978. In 1979, a second staircase leading to the museum's entrance was created.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/36d.jpg
In 1985 the task of renovating and enlranging the museum was taken up by architect Tompazis and his team, Liana Nella – Potiropoulou, N Bratsanos and E. Kontomichali..It was completed in 1999 and included the refurbishment of the existing exhibition rooms, the modernization and creation of new laboratories, the construction of new storerooms and offices, and of a lobby, cafeteria and gift shop, the landscaping of the area surrounding the museum and the repair of the museum's architectural shell, roof and floor. All of the museum's collections were redisplayed to meet modern museological standards, new exhibits and contemporary information technology were added for visitors.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-1.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-2.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-9.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-6.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-7.jpg
"The permanent exhibition of the Archaeological Museum of Delphi focuses on the history of the Delphic sanctuary and oracle, covering the long time span from prehistory to Late Antiquity. Most of the exhibits were donated to the sanctuary during its period of great prosperity, from Archaic Greek to Roman times.
The exhibits are presented in chronological order and by context (Sanctuary of Pronaia, votive pit of the Sacred Way, Temple of Apollo, Siphnian Treasury). These groups are part of larger exhibition units, which allow the visitor to understand the periods of floruit and decline of the sanctuary, the wealth of the different donators, the identity of the various artistic workshops and the urban and demographic development around the sanctuary. The exhibition is set out according to the specific needs of each medium: large-scale statues and architectural sculpture need more 'room to breath' than the so-called minor objects. The exhibition focuses mainly on the art of the Archaic period, on metal and marble offerings rather than on pottery, and on monumental architectural and sculptural groups rather than on domestic or funerary assemblages. Some particularly impressive exhibits, such as the famous bronze Charioteer, are displayed separately. Texts, models, maps, sketches and digital reconstructions, illustrating the physical setting of the objects, complete the exhibition."
Dr E. Partida, archaelogist
Exhibition Units
- The emergence of the sanctuary and the early offerings (Rooms I-II)
- The early Archaic period (Room III)
- The Sacred Way votive pit (Room IV)
- The Siphnian Treasury (Room V)
- The Temple of Apollo (Room VI)
- The Athenian Treasury (Rooms VII-VIII)
- Offerings of the fifth century BC (Room IX)
- The Tholos (Room X)
- Late Classical and Hellenistic periods (Room XI)
- Late Hellenistic and Roman periods (Room XII)
- The Charioteer (Room XIII)
- The end of the sanctuary (Room XIV)
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/05-DSC_1337-Delphi-museum-t.jpg
Omphalos
The omphalos (navel-stone) was the symbol of Delphi. According to an ancient myth, Zeus sent out two eagles in opposite directions from Mount Olympus, and these two instruments of augury met over Delphi, which was regarded thereafter as the Earth's navel. This marble representation of an omphalos is a Hellenistic or Roman copy of the Archaic omphalos, which was kept in the temple's adyton (inner sanctum). It was surmounted by two gilded eagles. The relief decoration imitates the weave of the agrenon, the thick woolen cloth that covered the original sacred omphalos inside the adyton. Many more copies of the omphalos, in various materials, existed in Delphi. This example may have been the one witnessed by the travel writer Pausanias in the 2th century AD.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/Sphinx.jpg
(http://www.flickr.com/photos/c-j-b/3140710275/)
This marble sphinx, an offering from the people of Naxos, dominated Apollo's sanctuary from its position atop a 12.10 meter high Ionic column. This mythical creature, a symbol of earthly divinity and heavenly power, has the body and legs of a lion, the chest and wings of a bird, and the head of a woman.This sphinx is a representative example of Naxian sculpture at its zenith in the 6th century BC. The inscription on the base records a decree of 328-327 BC bestowing the Naxians with the right to promanteia, which gave them priority to the Delphic oracle.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/hiniox.jpg (http://www.flickr.com/photos/alohadave/2394149881/)
This bronze masterpiece is the most renowned of the Delphic votive offerings. The young charioteer stands on his chariot, moments after his victory. He wears the distinctive charioteers' long chiton, belted up high and held tight by bands to prevent it from billowing and flapping in the wind. Below the belt, the chiton falls in straight pleats, which convey the shape of a Doric column. The pleats above the belt form oblique and curved patterns. A band inlaid with a silver meander, which symbolizes the charioteer's victory, is fastened around his head. His expressive eyes, made of glass and semi-precious stone, convey a sense of power and self-confidence. The statue was part of a larger monument, which included a four-horse chariot and a second male figure. It was offered by Polyzalos, tyrant of Gela, after his victory at a chariot race of the Pythian games.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/ThevotiveofferingofDaochos-1.jpg
The votive offering of Daochos
This sculptural group is one of the most important offerings made by a private person to the Delphic sanctuary of Apollo. According to the inscription on its base, the offering was commissioned by Daochos II of Pharsala, tetrach of Thessaly and hieromnemon (Sacred Recorder) of the Delphic Amphictyony between 339 and 334 BC. The offering consisted of nine statues on a long and narrow base. At the right end stood a statue of Apollo. Next to the god stood six statues of Daochos's ancestors starting with the genarch Aknonios, who presents his family to the god as follows: Agias, Telemachos, Agelaos, Daochos I, Sisyphos I, Daochos II himself, and his son, Sisyphos II. The inscription mentions the names and most important accomplishments of the family members. Of great value to art historians is the statue of Agias, great-grandfather of Daochos II and renowned athlete of the pankration in the 5th century BC, who was repeatedly victorious in all of the Panhellenic games. This group is attributed to the famed sculptor Lysippos or his school.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/Antinoos.jpg (http://www.flickr.com/photos/c-j-b/3140977047/in/set-72157611725559182/)
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.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/dancers.jpg (http://www.flickr.com/photos/c-j-b/3141675022/in/set-72157611725559182/)
The column with the dancers (column of maiden girls - caryatids) , Classical period, 330 BC. It was discovered at Delphi, north-east from the temple of Apollon. Its height is 3,50 m and is made of pentelic marble
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/klx.jpg (http://www.flickr.com/photos/c-j-b/3140982089/in/set-72157611725559182/)
Attic white-ground kylix
This Attic White Ground kylix of the early 5th century BC has a most distinctive depiction of the Apollo. The god wears a white sleeveless chiton, which is fastened with pins at the shoulders, and a red himation wrapped around the lower part of his body. He sits on a cross-legged stool. A myrtle wreath garnishes his carelessly bound hair. He performs a libation by pouring wine out of a bowl with his right hand, while holding a seven-stringed lyre, whose sound-box is made of a turtle-shell, in his left hand. A raven looks on. This scene could allude to the myth of King Phlegyas's daughter Koronida (from the Greek korone = raven), who was in love with Apollo, although some scholars believe it is simply a bird with prophetic powers.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/kouroi2.jpg (http://www.flickr.com/photos/c-j-b/3140709099/in/photostream/)
Kleobis and Biton
These two monumental Archa?c marble statues are among the best known examples of the Greek kouros. They stand side-by-side on separate blocks supported by the same base, which bears part of an inscription. Both naked youths put one leg forward, their arms are slightly bent and their fists tightly closed. They have been identified as Kleobis and Biton of Argos, sons of Hera's priestess. Herodotus tells us that Kleobis and Biton came to the aid of their mother by pulling her cart to the sanctuary, when her oxen were delayed. When the priestess asked Hera to reward her sons, the goddess granted them a peaceful death in their sleep. According to the inscription, these kouroi were made by the sculptor (Poly)medes of Argos and dedicated to Apollo by the people of Argos;
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/3141637488_f7f0eb356d_b.jpg (http://www.flickr.com/photos/c-j-b/3141637488/in/set-72157611725559182/)
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/head.jpg
fragments of a burnt Archaic chryselephantine statue. Probably representation of Apollo. 6th century BC
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/votivedeposits.jpg (http://www.flickr.com/photos/c-j-b/3141632264/in/set-72157611725559182)
Finds from the sacred votive deposits
These are some of the most remarkable and precious votive offerings from the Apollo sanctuary. They were found in two subterranean deposits of sacred objects, where they were kept after they were damaged by fire in the 5th century BC. These votive pits contained much burnt earth and ash, but also numerous fragments of ivory, gold, silver, bronze, iron and clay, from which experienced conservators painstakingly restored these remarkable artefacts. The following are especially interesting: a life-sized bull made of silver sheets connected with bronze straps and nailed onto a wooden core, parts of three life-sized chryselephantine statues (one male and possibly two female) of the 6th century BC, an elegant 5th century BC bronze thymiaterion (incense burner), its tall shaft shaped like a woman draped in a peplos and holding a container with perforated lid on her head, and, finally, ivory plaques with mythological scenes.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/WomansHead.jpg (http://www.flickr.com/photos/c-j-b/3141639904/in/set-72157611725559182/)
Women's head from a the gold and fire-blackened ivory fragments of a burnt Archaic chryselephantine statue. May represent Artemis
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/handgold.jpg (http://www.flickr.com/photos/c-j-b/3141649900/in/set-72157611725559182/)
Gold and fire-blackened ivory fragments of a burnt Archaic chryselephantine statue.
Sources: www.culture.gr
Photos: from www.flickr.com
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-3.jpg
The Archaeological Museum of Delphi, one of the most important in Greece, exhibits the history of the Delphic sanctuary, site of the most famous ancient Greek oracle. Its rich collections are comprised primarily of architectural sculpture, statues and minor objects donated to the sanctuary. These reflect its religious, political and artistic activities from its early years in the eight century BC to its decline in Late Antiquity.
The modern museum is housed in a two-storey building with a total surface area of 2270 square metres, with fourteen exhibition rooms, 558 square metres of storerooms and conservation laboratories for pottery, metal objects and mosaics. A new lobby, cafeteria and gift shop were created during the museum's latest refurbishment.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/ViewofthefirstmuseumsbuildingatDelp.jpg
Construction of the old museum
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/mouseioolymp.jpg
The old museum
The first Delphi Museum was built in 1903 on plans by the French architect Tournaire and funded by A. Syngros in order to house the finds of the great French excavations begun in 1892. The original building, which consisted of two wings, was enlarged and renovated in 1935-6. The new exhibition opened two years later and was organized like the first one by Greek and French archaeologists. A storeroom for inscriptions was constructed in 1956. The complete refurbishment of the museum in accordance with recent museological thinking, especially since many of the antiquities had been stored away during the Nazi occupation, was deemed necessary in 1958 and was carried out by the architect Patroklos Karantinos. Two new rooms, one for the Charioteer and the other for the bronze objects, were created, while the existing three were refurbished. Old storerooms were converted into offices and a guesthouse. A portico was built in front of the offices for the exhibition of Hellenistic statues, but was blocked in 1980 by new offices, while a new adjacent building containing more storerooms (for statues, vases and architectural elements) and laboratories, was added. The new exhibition was established between 1960 and 1963.
In 1975, part of the sculpture laboratory and storeroom was used for the exhibition of the bull and chryselephantine objects from the recently excavated votive deposit of the Sacred Way. The conversion was completed and the exhibition inaugurated in 1978. In 1979, a second staircase leading to the museum's entrance was created.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/36d.jpg
In 1985 the task of renovating and enlranging the museum was taken up by architect Tompazis and his team, Liana Nella – Potiropoulou, N Bratsanos and E. Kontomichali..It was completed in 1999 and included the refurbishment of the existing exhibition rooms, the modernization and creation of new laboratories, the construction of new storerooms and offices, and of a lobby, cafeteria and gift shop, the landscaping of the area surrounding the museum and the repair of the museum's architectural shell, roof and floor. All of the museum's collections were redisplayed to meet modern museological standards, new exhibits and contemporary information technology were added for visitors.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-1.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-2.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-9.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-6.jpg
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/-7.jpg
"The permanent exhibition of the Archaeological Museum of Delphi focuses on the history of the Delphic sanctuary and oracle, covering the long time span from prehistory to Late Antiquity. Most of the exhibits were donated to the sanctuary during its period of great prosperity, from Archaic Greek to Roman times.
The exhibits are presented in chronological order and by context (Sanctuary of Pronaia, votive pit of the Sacred Way, Temple of Apollo, Siphnian Treasury). These groups are part of larger exhibition units, which allow the visitor to understand the periods of floruit and decline of the sanctuary, the wealth of the different donators, the identity of the various artistic workshops and the urban and demographic development around the sanctuary. The exhibition is set out according to the specific needs of each medium: large-scale statues and architectural sculpture need more 'room to breath' than the so-called minor objects. The exhibition focuses mainly on the art of the Archaic period, on metal and marble offerings rather than on pottery, and on monumental architectural and sculptural groups rather than on domestic or funerary assemblages. Some particularly impressive exhibits, such as the famous bronze Charioteer, are displayed separately. Texts, models, maps, sketches and digital reconstructions, illustrating the physical setting of the objects, complete the exhibition."
Dr E. Partida, archaelogist
Exhibition Units
- The emergence of the sanctuary and the early offerings (Rooms I-II)
- The early Archaic period (Room III)
- The Sacred Way votive pit (Room IV)
- The Siphnian Treasury (Room V)
- The Temple of Apollo (Room VI)
- The Athenian Treasury (Rooms VII-VIII)
- Offerings of the fifth century BC (Room IX)
- The Tholos (Room X)
- Late Classical and Hellenistic periods (Room XI)
- Late Hellenistic and Roman periods (Room XII)
- The Charioteer (Room XIII)
- The end of the sanctuary (Room XIV)
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/05-DSC_1337-Delphi-museum-t.jpg
Omphalos
The omphalos (navel-stone) was the symbol of Delphi. According to an ancient myth, Zeus sent out two eagles in opposite directions from Mount Olympus, and these two instruments of augury met over Delphi, which was regarded thereafter as the Earth's navel. This marble representation of an omphalos is a Hellenistic or Roman copy of the Archaic omphalos, which was kept in the temple's adyton (inner sanctum). It was surmounted by two gilded eagles. The relief decoration imitates the weave of the agrenon, the thick woolen cloth that covered the original sacred omphalos inside the adyton. Many more copies of the omphalos, in various materials, existed in Delphi. This example may have been the one witnessed by the travel writer Pausanias in the 2th century AD.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/Sphinx.jpg
(http://www.flickr.com/photos/c-j-b/3140710275/)
This marble sphinx, an offering from the people of Naxos, dominated Apollo's sanctuary from its position atop a 12.10 meter high Ionic column. This mythical creature, a symbol of earthly divinity and heavenly power, has the body and legs of a lion, the chest and wings of a bird, and the head of a woman.This sphinx is a representative example of Naxian sculpture at its zenith in the 6th century BC. The inscription on the base records a decree of 328-327 BC bestowing the Naxians with the right to promanteia, which gave them priority to the Delphic oracle.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/hiniox.jpg (http://www.flickr.com/photos/alohadave/2394149881/)
This bronze masterpiece is the most renowned of the Delphic votive offerings. The young charioteer stands on his chariot, moments after his victory. He wears the distinctive charioteers' long chiton, belted up high and held tight by bands to prevent it from billowing and flapping in the wind. Below the belt, the chiton falls in straight pleats, which convey the shape of a Doric column. The pleats above the belt form oblique and curved patterns. A band inlaid with a silver meander, which symbolizes the charioteer's victory, is fastened around his head. His expressive eyes, made of glass and semi-precious stone, convey a sense of power and self-confidence. The statue was part of a larger monument, which included a four-horse chariot and a second male figure. It was offered by Polyzalos, tyrant of Gela, after his victory at a chariot race of the Pythian games.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/ThevotiveofferingofDaochos-1.jpg
The votive offering of Daochos
This sculptural group is one of the most important offerings made by a private person to the Delphic sanctuary of Apollo. According to the inscription on its base, the offering was commissioned by Daochos II of Pharsala, tetrach of Thessaly and hieromnemon (Sacred Recorder) of the Delphic Amphictyony between 339 and 334 BC. The offering consisted of nine statues on a long and narrow base. At the right end stood a statue of Apollo. Next to the god stood six statues of Daochos's ancestors starting with the genarch Aknonios, who presents his family to the god as follows: Agias, Telemachos, Agelaos, Daochos I, Sisyphos I, Daochos II himself, and his son, Sisyphos II. The inscription mentions the names and most important accomplishments of the family members. Of great value to art historians is the statue of Agias, great-grandfather of Daochos II and renowned athlete of the pankration in the 5th century BC, who was repeatedly victorious in all of the Panhellenic games. This group is attributed to the famed sculptor Lysippos or his school.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/Antinoos.jpg (http://www.flickr.com/photos/c-j-b/3140977047/in/set-72157611725559182/)
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.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/dancers.jpg (http://www.flickr.com/photos/c-j-b/3141675022/in/set-72157611725559182/)
The column with the dancers (column of maiden girls - caryatids) , Classical period, 330 BC. It was discovered at Delphi, north-east from the temple of Apollon. Its height is 3,50 m and is made of pentelic marble
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/klx.jpg (http://www.flickr.com/photos/c-j-b/3140982089/in/set-72157611725559182/)
Attic white-ground kylix
This Attic White Ground kylix of the early 5th century BC has a most distinctive depiction of the Apollo. The god wears a white sleeveless chiton, which is fastened with pins at the shoulders, and a red himation wrapped around the lower part of his body. He sits on a cross-legged stool. A myrtle wreath garnishes his carelessly bound hair. He performs a libation by pouring wine out of a bowl with his right hand, while holding a seven-stringed lyre, whose sound-box is made of a turtle-shell, in his left hand. A raven looks on. This scene could allude to the myth of King Phlegyas's daughter Koronida (from the Greek korone = raven), who was in love with Apollo, although some scholars believe it is simply a bird with prophetic powers.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/kouroi2.jpg (http://www.flickr.com/photos/c-j-b/3140709099/in/photostream/)
Kleobis and Biton
These two monumental Archa?c marble statues are among the best known examples of the Greek kouros. They stand side-by-side on separate blocks supported by the same base, which bears part of an inscription. Both naked youths put one leg forward, their arms are slightly bent and their fists tightly closed. They have been identified as Kleobis and Biton of Argos, sons of Hera's priestess. Herodotus tells us that Kleobis and Biton came to the aid of their mother by pulling her cart to the sanctuary, when her oxen were delayed. When the priestess asked Hera to reward her sons, the goddess granted them a peaceful death in their sleep. According to the inscription, these kouroi were made by the sculptor (Poly)medes of Argos and dedicated to Apollo by the people of Argos;
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/3141637488_f7f0eb356d_b.jpg (http://www.flickr.com/photos/c-j-b/3141637488/in/set-72157611725559182/)
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/head.jpg
fragments of a burnt Archaic chryselephantine statue. Probably representation of Apollo. 6th century BC
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/votivedeposits.jpg (http://www.flickr.com/photos/c-j-b/3141632264/in/set-72157611725559182)
Finds from the sacred votive deposits
These are some of the most remarkable and precious votive offerings from the Apollo sanctuary. They were found in two subterranean deposits of sacred objects, where they were kept after they were damaged by fire in the 5th century BC. These votive pits contained much burnt earth and ash, but also numerous fragments of ivory, gold, silver, bronze, iron and clay, from which experienced conservators painstakingly restored these remarkable artefacts. The following are especially interesting: a life-sized bull made of silver sheets connected with bronze straps and nailed onto a wooden core, parts of three life-sized chryselephantine statues (one male and possibly two female) of the 6th century BC, an elegant 5th century BC bronze thymiaterion (incense burner), its tall shaft shaped like a woman draped in a peplos and holding a container with perforated lid on her head, and, finally, ivory plaques with mythological scenes.
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/WomansHead.jpg (http://www.flickr.com/photos/c-j-b/3141639904/in/set-72157611725559182/)
Women's head from a the gold and fire-blackened ivory fragments of a burnt Archaic chryselephantine statue. May represent Artemis
http://i188.photobucket.com/albums/z222/Ares_K_album/Delphi/handgold.jpg (http://www.flickr.com/photos/c-j-b/3141649900/in/set-72157611725559182/)
Gold and fire-blackened ivory fragments of a burnt Archaic chryselephantine statue.
Sources: www.culture.gr
Photos: from www.flickr.com