Delphi Archaeological Museum
Delphi Archaeological museum is one of the principal museums of Greece and one of the most visited. It is operated by the Greek Ministry of Culture (Ephorate of Antiquities of Phocis). Founded in 1903, it has been rearranged several times and houses the discoveries made at the panhellenic sanctuary of Delphi, which date from the Late Helladic (Mycenean) period to the early Byzantine era.
Organised in fourteen rooms on two levels, the museum mainly displays statues, including the famous Charioteer of Delphi, architectural elements, like the frieze of the Siphnian Treasury and ex votos dedicated to the sanctuary of Pythian Apollo, like the Sphinx of Naxos. The exhibition floor space is more than 2270m2, while the storage and conservation rooms (mosaics, ceramics and metals) take up 558m2. Visitors are also catered to by an entrance hall, a cafeteria and a gift shop.
Contents
History of the Museum
The First Museum
A first, rather small museum was inaugurated on 2 May 1903 to celebrate the end of the first great archaeological campaign of French excavations and to exhibit the findings. The building was designed by the French architect Albert Tournaire, financed by a trust established by the Greek banker and philanthropist Andreas Syngros. Two wings framed a small central building. The arrangement of the collection, designed by the director of the archaeological expedition, Théophile Homolle, was inspired by the view that the architectural parts and sculptures should be put "in context". Thus, parts of the main monuments of the site were reconstructed with plaster.[3] Yet, the exhibits took every inch of available space, making the exhibition look pretty crammed.Furthermore, the museographic approach lacked any chronological or thematic arrangement. The quality of the exhibits themselves was thought to be self-explanatory. The first exhibition was thus destined more to the pleasure of the eyes than to any educational purpose.
Subsequent Phases
Despite the admiration it inspired to the Greek and international community, already in the 1930s the museum was becoming too small to accommodate new findings or the increasing number of tourists. In addition, its arrangement (or, rather, the absence of it) and the plaster restorations were being increasingly criticized. Finally, its entire appearance was criticized as a little too "French" in a period which insisted on "Greekness." The construction of a new building was launched in 1935. The new museum was representative of the architectural trends of the Interwar period and was accomplished in 1939, including a new arrangement of the objects by the Professor of Archaeology at Thessaloniki, Constantinos Romaios. The reorganisation of the Archaic collections was entrusted to the French archaeologist Pierre de La Coste-Messelière, who discarded the plaster restorations of significant artefacts, including that of the Siphnian Treasury, which had become one of the principal attractions. The antiquities were presented in a chronological order, listed and labelled.
However, this arrangement was only briefly in use. The outbreak of World War II constituted a major threat to the antiquities which were put into storage. Part was kept at Delphi in the ancient Roman tombs or in specially dug pits in front of the museum. The most precious objects (the chryselephantine objects, the silver Statue of a Bull discovered three months before the outbreak of war, and the Charioteer were sent to Athens in order to be stored in the vaults of the Bank of Greece. They remained there for ten years. The charioteer was on display in the National Archaeological Museum of Athens until 1951. The region of Delphi was at the heart of the combat zone in the Greek civil war and the museum was not reopened until 1952. For six years, visitors could view the arrangement that had been envisioned in 1939. However, the museum proved insufficient and it was necessary to undertake a new phase of construction, completed in 1958.
The renovation of the museum was entrusted to the architect Patroklos Karantinos and the archaeologist Christos Karouzos was sent from the National Archaeological Museum of Athens to rearrange the collection, under the supervision of the ephor of Delphi, Ioanna Constantinou. Karatinos created two new exhibition halls and modified the structure to allow more natural light into the building. The arrangement of the collection remained chronological, but a greater focus was placed on the sculpture, with statues increasingly separated from their architectural contexts. The museum reopened its doors in 1961. and soon became one of the most visited tourist attractions in Greece: in 1998, it received more than 300,200 visitors, almost as many as the National Archaeological Museum of Athens in the same period (325,000 visitors).
The Turn of the 21st Century
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Between 1999 and 2003, the museum underwent yet another phase of renovations, carried out by the Greek architect Alexandros Tombazis. These included the construction of a new facade in a contemporary style and a new hall for the charioteer. The rest of the museum was re-designed in a modern style and adjusted to facilitate the circulation of visitors. A new lobby, a large cafeteria and a gift shop were also created. The collection was rearranged in order to reconcile the need to display the main attractions of the museum effectively and the wish to present the latest theories and discoveries of archaeological and historical scholarships. An effort was also made to illustrate hitherto neglected exhibits like the classical facade of the Temple of Apollo. The museum opened its doors once more for its centenary.
Websites
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