Delphi Archaeological Museum, Delphi.
The museum houses the discoveries made at the sanctuary in Delphi which date from the prehistoric period through to late Antiquity. Its centrepieces are the antiquities found on the site of the ancient Oracle of Delphi which include offerings to the oracle and architectural parts of the buildings.
This is probably the work of Pythagoras from Samos. According to written sources, Pythagoras sought symmetry and precise rendering of details. It's a masterpiece of the Severe Style that marked the transition from the archaic to the classical period (480-460 BC). Plain and austere, it mirrors the athlete's morals.
Charioteers who participated in the PanHellenic games were youth of noble origins, and such a youth was the Charioteer of Delphi, who wears the typical sleeved tunic, long down to his ankles. 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.
The Charioteer formed part of a larger bronze composition, representing a quadriga. Two hind horse legs, a tail, pieces from the yoke and a youth's arm with remains of reins were found beside the statue. Four horses would drag a chariot driven by the Charioteer. Either one or two boys would flank it, holding the outer horses' reins. The race is over and the victorious Charioteer, wearing the champion's headband, parades before the applauding spectators.
a youth of great beauty from Bithynia, beloved companion of the Emperor Hadrian. Antinoos had barely reached adulthood when he drowned in the Nile. He was thereafter whorshipped as a demigod in many parts of the Eastern Empire by order of the emperor. One of the many statues of the youth was erected in the sanctuary at Delphi.
The work is representative of classicism at the time of the Emperor Hadrian (117-138 AD). With its heroic-divine nudity, the statue follows the stylistic traditions of the 5th and 4th BC artists.
The Melancholy Roman
The Theatre Frieze.
Panels from the frieze relief which decorated the proscenium of the theatre at Delphi, depicting scenes from the Labours of Heracles
The tiny Eros has fallen asleep on a rock. Statue from the sculpted decoration of a fountain, early 2nd century BC.
Marble statue of a smiling girl. The head has been separately applied on the body. Early Hellenistic period (early 3rd century BC)
The marble omphalos was found in the area to the northeast of the temple of Apollo: a Hellenistic or Roman copy of the omphalos that used to stand in the adyton, where the prophetic responses were given via the Pythia. (you can find out more about this here )
The column of the 'dancers'
Aghias, son of Aknonios
Torso of a running woman which has been identified as the end of a building in the sanctuary of Athena Proneac circa 470 BC.
The 'twins' of Argos
The two identical statues are the oldest monumental votive offerings at Delphi and one of the earliest examples of large-scale archaic sculpture.
A votive offering from the island of Naxos in the Cyclades.
An assembly of gods which was part of a frieze.