Delphi

The Delphic Tholos, seen from above.
Shown within Greece
Location	Phocis, Greece
Coordinates	38°28?56?N 22°30?05?E / 38.4823°N 22.5013°E / 38.4823; 22.5013Coordinates: 38°28?56?N 22°30?05?E / 38.4823°N 22.5013°E / 38.4823; 22.5013
Type	Settlement
History
Cultures	Ancient Greece
UNESCO World Heritage Site
Official name	Archaeological Site of Delphi
Type	Cultural
Criteria	i, ii, iii, iv and vi
Designated	1987 (12th session)
Reference no.	393
State Party	Greece
Region	Europe

Delphi (; Greek: [ðel'fi]),^[1] formerly also called Pytho (?), is the ancient sanctuary that grew rich as the seat of Pythia, the oracle who was consulted about important decisions throughout the ancient classical world. The ancient Greeks considered the centre of the world to be in Delphi, marked by the stone monument known as the omphalos (navel).

It occupies a site on the south-western slope of Mount Parnassus, overlooking the coastal plain to the south and the valley of Phocis. It is now an extensive archaeological site with a small modern town of the same name nearby. It is recognised by UNESCO as a World Heritage Site in having had a great influence in the ancient world, as evidenced by the various monuments built there by most of the important ancient Greek city-states, demonstrating their fundamental Hellenic unity.

Origins and location

Delphi among the main Greek sanctuaries

Delphi is located in upper central Greece, on multiple plateaux along the slope of Mount Parnassus, and includes the Sanctuary of Apollo (the god of light, knowledge and harmony), the site of the ancient Oracle. This semicircular spur is known as Phaedriades, and overlooks the Pleistos Valley.

In myths dating to the classical period of Ancient Greece (510-323 BC), Zeus determined the site of Delphi when he sought to find the centre of his "Grandmother Earth" (Gaia). He sent two eagles flying from the eastern and western extremities, and the path of the eagles crossed over Delphi where the omphalos, or navel of Gaia was found.^[2][3]

Earlier myths ^[4][3] include traditions that Pythia, or the Delphic oracle, already was the site of an important oracle in the pre-classical Greek world (as early as 1400 BC) and, rededicated from about 800 BC, when it served as the major site during classical times for the worship of the god Apollo. Apollo was said to have slain Python, a "drako" a serpent or a dragon who lived there and protected the navel of the Earth.^[5] "Python" (derived from the verb ? (pyth?),^[6] "to rot") is claimed by some to be the original name of the site in recognition of Python which Apollo defeated.^[7] The Homeric Hymn to Delphic Apollo recalled that the ancient name of this site had been Krisa.^[8] Others relate that it was named Pytho (?) and that Pythia, the priestess serving as the oracle, was chosen from their ranks by a group of priestesses who officiated at the temple.

Excavation at Delphi, which was a post-Mycenaean settlement of the late 9th century, has uncovered artifacts increasing steadily in volume beginning with the last quarter of the 8th century BC. Pottery and bronze as well as tripod dedications continue in a steady stream, in contrast to Olympia. Neither the range of objects nor the presence of prestigious dedications proves that Delphi was a focus of attention for a wide range of worshippers, but the large quantity of valuable goods, found in no other mainland sanctuary, encourages that view.

Apollo's sacred precinct in Delphi was a panhellenic sanctuary, where every four years, starting in 586 BC^[9] athletes from all over the Greek world competed in the Pythian Games, one of the four Panhellenic Games, precursors of the Modern Olympics. The victors at Delphi were presented with a laurel crown (stephanos) which was ceremonially cut from a tree by a boy who re-enacted the slaying of the Python.^[9] (These competitions are also called stephantic games, after the crown.) Delphi was set apart from the other games sites because it hosted the mousikos agon, musical competitions.^[7]

These Pythian Games rank second among the four stephanitic games chronologically and in importance.^[9] These games, though, were different from the games at Olympia in that they were not of such vast importance to the city of Delphi as the games at Olympia were to the area surrounding Olympia. Delphi would have been a renowned city whether or not it hosted these games; it had other attractions that led to it being labeled the "omphalos" (navel) of the earth, in other words, the centre of the world.^[9][10]

In the inner hestia (hearth) of the Temple of Apollo, an eternal flame burned. After the battle of Plataea, the Greek cities extinguished their fires and brought new fire from the hearth of Greece, at Delphi; in the foundation stories of several Greek colonies, the founding colonists were first dedicated at Delphi.^[11]

Religious significance

Ruins of the ancient temple of Apollo at Delphi, overlooking the valley of Phocis.

The name Delphi comes from the same root as delphys, "womb" and may indicate archaic veneration of Gaia at the site.^[a][b] Apollo is connected with the site by his epithet Delphinios, "the Delphinian". The epithet is connected with dolphins (Greek ,-?) in the Homeric Hymn to Apollo (line 400), recounting the legend of how Apollo first came to Delphi in the shape of a dolphin, carrying Cretan priests on his back. The Homeric name of the oracle is Pytho (?).^[14] Another legend held that Apollo walked to Delphi from the north and stopped at Tempe, a city in Thessaly, to pick laurel (also known as bay tree) which he considered to be a sacred plant. In commemoration of this legend, the winners at the Pythian Games received a wreath of laurel picked in the temple.

Delphi became the site of a major temple to Phoebus Apollo, as well as the Pythian Games and the prehistoric oracle. Even in Roman times, hundreds of votive statues remained, described by Pliny the Younger and seen by Pausanias. Carved into the temple were three phrases: ? (gn?thi seautón = "know thyself") and ? (m?dén ágan = "nothing in excess"), and ? ?' (engýa pára d'at? = "make a pledge and mischief is nigh"),^[15] In antiquity, the origin of these phrases was attributed to one or more of the Seven Sages of Greece by authors such as Plato^[16] and Pausanias.^[17] Additionally, according to Plutarch's essay on the meaning of the "E at Delphi"--the only literary source for the inscription--there was also inscribed at the temple a large letter E.^[18] Among other things epsilon signifies the number 5. However, ancient as well as modern scholars have doubted the legitimacy of such inscriptions.^[19] According to one pair of scholars, "The actual authorship of the three maxims set up on the Delphian temple may be left uncertain. Most likely they were popular proverbs, which tended later to be attributed to particular sages."^[20]

According to the Homeric hymn to the Pythian Apollo, Apollo shot his first arrow as an infant which effectively slew the serpent Pytho, the son of Gaia, who guarded the spot. To atone the murder of Gaia's son, Apollo was forced to fly and spend eight years in menial service before he could return forgiven. A festival, the Septeria, was held every year, at which the whole story was represented: the slaying of the serpent, and the flight, atonement, and return of the god.^[21]

The Pythian Games took place every four years to commemorate Apollo's victory.^[21] Another regular Delphi festival was the "Theophania" (), an annual festival in spring celebrating the return of Apollo from his winter quarters in Hyperborea. The culmination of the festival was a display of an image of the gods, usually hidden in the sanctuary, to worshippers.^[22]

The theoxenia was held each summer, centred on a feast for "gods and ambassadors from other states." Myths indicate that Apollo killed the chthonic serpent Python guarding the Castalian Spring and named his priestess Pythia after her. Python, who had been sent by Hera, had attempted to prevent Leto, while she was pregnant with Apollo and Artemis, from giving birth.^[23]

This spring flowed toward the temple but disappeared beneath, creating a cleft which emitted chemical vapors that purportedly caused the oracle at Delphi to reveal her prophecies. Apollo killed Python but had to be punished for it, since he was a child of Gaia. The shrine dedicated to Apollo was originally dedicated to Gaia and shared with Poseidon.^[21] The name Pythia remained as the title of the Delphic oracle.

Erwin Rohde wrote that the Python was an earth spirit, who was conquered by Apollo, and buried under the omphalos, and that it is a case of one deity setting up a temple on the grave of another.^[24] Another view holds that Apollo was a fairly recent addition to the Greek pantheon coming originally from Lydia.^[] The Etruscans coming from northern Anatolia also worshipped Apollo,^[25] and it may be that he was originally identical with Mesopotamian Aplu, an Akkadian title meaning "son", originally given to the plague God Nergal, son of Enlil.^[] Apollo Smintheus (Greek ? ), the mouse killer^[26] eliminates mice, a primary cause of disease, hence he promotes preventive medicine.

Oracle of Delphi

Coin (obol) struck at Delphi, 480 BC. Obverse: Short tripod. Reverse: Pellet within circle (omphalos or phiale).

Delphi is perhaps best known for its oracle, the Pythia, the sibyl or priestess at the sanctuary dedicated to Apollo. According to Aeschylus in the prologue of the Eumenides, the oracle had origins in prehistoric times and the worship of Gaea, a view echoed by H.W. Parke.^[c]

One tale of the sanctuary's discovery states that a goatherd, who grazed his flocks on Parnassus, one day observed his goats playing with great agility upon nearing a chasm in the rock; the goatherd noticing this held his head over the chasm causing the fumes to go to his brain; throwing him into a strange trance.^[28]

Apollo spoke through his oracle. She had to be an older woman of blameless life chosen from among the peasants of the area. Alone in an enclosed inner sanctum (Ancient Greek adyton - "do not enter") she sat on a tripod seat over an opening in the earth (the "chasm"). According to legend, when Apollo slew Python its body fell into this fissure and fumes arose from its decomposing body. Intoxicated by the vapours, the sibyl would fall into a trance, allowing Apollo to possess her spirit. In this state she prophesied. The oracle could not be consulted during the winter months, for this was traditionally the time when Apollo would live among the Hyperboreans. Dionysus would inhabit the temple during his absence.^[29]

The time to consult pythia for an oracle during the year is determined from astronomical and geological grounds related to the constellations of Lyra and Cygnus but^{[clarification needed]} the hydrocarbon vapours emitted from the chasm.^[30] Similar practice was followed in other Apollo oracles too.^[31]

While in a trance the Pythia "raved" - probably a form of ecstatic speech - and her ravings were "translated" by the priests of the temple into elegant hexameters. It has been speculated that the ancient writers, including Plutarch who had worked as a priest at Delphi, were correct in attributing the oracular effects to the sweet-smelling pneuma (Ancient Greek for breath, wind or vapour) escaping from the chasm in the rock. That exhalation could have been high in the known anaesthetic and sweet-smelling ethylene or other hydrocarbons such as ethane known to produce violent trances. Though this theory remains debatable the authors put up a detailed answer to their critics.^[32][33][34]

Ancient sources describe the priestess using "laurel" to inspire her prophecies. Several alternative plant candidates have been suggested including Cannabis, Hyoscyamus, Rhododendron and Oleander. Harissis claims that a review of contemporary toxicological literature indicates that oleander causes symptoms similar to those shown by the Pythia, and his study of ancient texts shows that oleander was often included under the term "laurel". The Pythia may have chewed oleander leaves and inhaled their smoke prior to her oracular pronouncements and sometimes dying from the toxicity. The toxic substances of oleander resulted in symptoms similar to those of epilepsy, the "sacred disease," which may have been seen as the possession of the Pythia by the spirit of Apollo.^[35]

Fresco of Delphic sibyl painted by Michaelangelo at the Sistine Chapel.

The Delphic oracle exerted considerable influence throughout the Greek world, and she was consulted before all major undertakings including wars and the founding of colonies.^[d] She also was respected by the Greek-influenced countries around the periphery of the Greek world, such as Lydia, Caria, and even Egypt.

The oracle was also known to the early Romans. Rome's seventh and last king, Lucius Tarquinius Superbus, after witnessing a snake near his palace, sent a delegation including two of his sons to consult the oracle.^[37]

In 83 BCE a Thracian tribe raided Delphi, burned the temple, plundered the sanctuary and stole the "unquenchable fire" from the altar. During the raid, part of the temple roof collapsed.^[38] The same year, the temple was severely damaged by an earthquake, thus it fell into decay and the surrounding area became impoverished. The sparse local population led to difficulties in filling the posts required. The oracle's credibility waned due to doubtful predictions.^[]

The oracle flourished again in the second century CE during the rule of emperor Hadrian, who is believed to have visited the oracle twice and offered complete autonomy to the city.^[38] By the 4th century, Delphi had acquired the status of a city.^[39]Constantine the Great looted several monuments, most notably the Tripod of Plataea, which he used to decorate his new capital, Constantinople.^[]

Despite the rise of Christianity across the Roman Empire, the oracle remained a religious centre throughout the 4th century, and the Pythian Games continued to be held at least until 424 CE;^[39] however, the decline continued. The attempt of Emperor Julian to revive polytheism did not survive his reign.^[38] Excavations have revealed a large three-aisled basilica in the city, as well as traces of a church building in the sanctuary's gymnasium.^[39] The site was abandoned in the 6th or 7th centuries, although a single bishop of Delphi is attested in an episcopal list of the late 8th and early 9th centuries.^[39]

History

Ancient Delphi

Speculative illustration of ancient Delphi by French architect Albert Tournaire.

Delphi was since ancient times a place of worship for Gaia, the mother goddess connected with fertility. The town started to gain pan-Hellenic relevance as both a shrine and an oracle in the 7th century BC. Initially under the control of Phocaean settlers based in nearby Kirra (currently Itea), Delphi was reclaimed by the Athenians during the First Sacred War (597-585 BC). The conflict resulted in the consolidation of the Amphictyonic League, which had both a military and a religious function revolving around the protection of the Temple of Apollo. This shrine was destroyed by fire in 548 BC and then fell under the control of the Alcmaeonids banned from Athens. In 449-448 BC, the Second Sacred War (fought in the wider context of the First Peloponnesian War between the Peloponnesian League led by Sparta and the Delian-Attic League led by Athens) resulted in the Phocians gaining control of Delphi and the management of the Pythian Games.

In 356 BC the Phocians under Philomelos captured and sacked Delphi, leading to the Third Sacred War (356-346 BC), which ended with the defeat of the former and the rise of Macedon under the reign of Philip II. This led to the Fourth Sacred War (339 BC), which culminated in the Battle of Chaeronea (338 BC) and the establishment of Macedonian rule over Greece. In Delphi, Macedonian rule was superseded by the Aetolians in 279 BC, when a Gallic invasion was repelled, and by the Romans in 191 BC. The site was sacked by Lucius Cornelius Sulla in 86 BC, during the Mithridatic Wars, and by Nero in 66 AD. Although subsequent Roman emperors of the Flavian dynasty contributed towards to the restoration of the site, it gradually lost importance. In the course of the 3rd century mystery cults became more popular than the traditional Greek pantheon. Christianity, which started as yet one more mystery cult, soon gained ground, and this eventually resulted in the persecution of pagans in the late Roman Empire. The anti-pagan legislation of the Flavian dynasty deprived ancient sanctuaries of their assets.^[] The emperor Julian attempted to reverse this religious climate, yet his "pagan revival" was particularly short-lived. When the doctor Oreibasius visited the oracle of Delphi, in order to question the fate of paganism,he received a pessimistic answer:

[Tell the king that the flute has fallen to the ground. Phoebus does not have a home any more, neither an oracular laurel, nor a speaking fountain, because the talking water has dried out.]

It was shut down during the persecution of pagans in the late Roman Empire by Theodosius I in 381 AD.^[40]

Abandonment and rediscovery

Section of the frieze from the Treasury of the Siphnians, now in the museum.

The Ottomans finalized their domination over Phocis and Delphi in about 1410CE. Delphi itself remained almost uninhabited for centuries. It seems that one of the first buildings of the early modern era was the monastery of the Dormition of Mary or of Panagia (the Mother of God) built above the ancient gymnasium at Delphi. It must have been towards the end of the 15th or in the 16th century that a settlement started forming there, which eventually ended up forming the village of Kastri.

Ottoman Delphi gradually began to be investigated. The first Westerner to describe the remains in Delphi was Ciriaco de' Pizzicolli (Cyriacus of Ancona), a 15th-century merchant turned diplomat and antiquarian. He visited Delphi in March 1436 and remained there for six days. He recorded all the visible archaeological remains based on Pausanias for identification. He described the stadium and the theatre at that date as well as some free standing pieces of sculpture. He also recorded several inscriptions, most of which are now lost. His identifications however were not always correct: for example he described a round building he saw as the temple of Apollo while this was simply the base of the Argives' ex-voto. A severe earthquake in 1500 caused much damage.

In 1766 an English expedition funded by the Society of Dilettanti included the Oxford epigraphist Richard Chandler, the architect Nicholas Revett, and the painter William Pars. Their studies were published in 1769 under the title Ionian Antiquities,^[41] followed by a collection of inscriptions,^[42] and two travel books, one about Asia Minor (1775),^[43] and one about Greece (1776).^[44] Apart from the antiquities, they also related some vivid descriptions of daily life in Kastri, such as the crude behaviour of the Turco-Albanians who guarded the mountain passes.

In 1805 Edward Dodwell visited Delphi, accompanied by the painter Simone Pomardi.^[45]Lord Byron visited in 1809, accompanied by his friend John Cam Hobhouse:

Yet there I've wandered by the vaulted rill;
Yes! Sighed o'er Delphi's long deserted shrine,
where, save that feeble fountain, all is still.

He carved his name on the same column in the gymnasium as Lord Aberdeen, later Prime Minister, who had visited a few years before. Proper excavation did not start until the late 19th century (see "Excavations" section) after the village had moved.

Buildings and structures

Site plan of the Sanctuary of Apollo, Delphi.

Occupation of the site at Delphi can be traced back to the Neolithic period with extensive occupation and use beginning in the Mycenaean period (1600-1100 BC). Most of the ruins that survive today date from the most intense period of activity at the site in the 6th century BC.^[46]

Temple of Apollo

The ruins of the Temple of Delphi visible today date from the 4th century BC, and are of a peripteral Doric building. It was erected by Spintharus, Xenodoros, and Agathon on the remains of an earlier temple, dated to the 6th century BC which itself was erected on the site of a 7th-century BC construction attributed to the architects Trophonios and Agamedes.^[47]

Amphictyonic Council

The Amphictyonic Council was a council of representatives from six Greek tribes that controlled Delphi and also the quadrennial Pythian Games. They met biannually and came from Thessaly and central Greece. Over time, the town of Delphi gained more control of itself and the council lost much of its influence.

Treasuries

The reconstructed Treasury of Athens, built to commemorate their victory at the Battle of Marathon.

From the entrance of the site, continuing up the slope almost to the temple itself, are a large number of votive statues, and numerous so-called treasuries. These were built by many of the Greek city states to commemorate victories and to thank the oracle for her advice which was thought to have contributed to those victories. These buildings held the rich offerings made to Apollo; these were frequently a "tithe" or tenth of the spoils of a battle. The most impressive is the now-restored Athenian Treasury, built to commemorate their victory at the Battle of Marathon in 490 BC.

The Siphnian Treasury was dedicated by the city of Siphnos whose citizens gave a tithe of the yield from their silver mines until the mines came to an abrupt end when the sea flooded the workings.

One of the largest of the treasuries was that of Argos. Built in the late Doric period, the Argives took great pride in establishing their place amongst the other city states. Completed in 380 BC, the treasury draws inspiration mostly from the Temple of Hera located in the Argolis, the acropolis of the city. However, recent analysis of the Archaic elements of the treasury suggest that its founding preceded this.

Other identifiable treasuries are those of the Sikyonians, the Boeotians and the Thebans.

Altar of the Chians

Located in front of the Temple of Apollo, the main altar of the sanctuary was paid for and built by the people of Chios. It is dated to the 5th century BC by the inscription on its cornice. Made entirely of black marble, except for the base and cornice, the altar would have made a striking impression. It was restored in 1920.^[48]

Stoa of the Athenians

View of the Athenian Treasury; the Stoa of the Athenians on the right.

The stoa leads off north-east from the main sanctuary. It was built in the Ionic order and consists of seven fluted columns, unusually carved from single pieces of stone (most columns were constructed from a series of discs joined together). The inscription on the stylobate indicates that it was built by the Athenians after their naval victory over the Persians in 478 BC, to house their war trophies. The stoa was attached to the existing Polygonal Wall.^[49]

Sibyl rock

The Sibyl rock is a pulpit-like outcrop of rock between the Athenian Treasury and the Stoa of the Athenians upon the sacred way which leads up to the temple of Apollo in the archaeological area of Delphi. It is claimed to be where an ancient Sibyl pre-dating the Pythia of Apollo sat to deliver her prophecies.

Theatre

The theatre at Delphi (as viewed near the top seats)

The ancient theatre at Delphi was built further up the hill from the Temple of Apollo giving spectators a view of the entire sanctuary and the valley below.^[50] It was originally built in the 4th century BC but was remodeled on several occasions, particularly in 160/159 B.C. at the expenses of king Eumenes II of Pergamon and in 67 A.D. on the occasion of emperor Nero's visit.^[51] The koilon (cavea) leans against the natural slope of the mountain whereas its eastern part overrides a little torrent which led the water of the fountain Cassotis right underneath the temple of Apollo. The orchestra was initially a full circle with a diameter measuring 7 meters. The rectangular scene building ended up in two arched openings, of which the foundations are preserved today. Access to the theatre was possible through the parodoi, i.e. the side corridors. On the support walls of the parodoi are engraved large numbers of manumission inscriptions recording fictitious sales of the slaves to the god. The koilon was divided horizontally in two zones via a corridor called diazoma. The lower zone had 27 rows of seats and the upper one only 8. Six radially arranged stairs divided the lower part of the koilon in seven tiers. The theatre could accommodate about 4,500 spectators.^[52]

On the occasion of Nero's visit to Greece in 67 A.D. various alterations took place. The orchestra was paved and delimited by a parapet made of stone. The proscenium was replaced by a low pedestal, the pulpitum; its façade was decorated with scenes from Hercules' myth in relief. Further repairs and transformations took place in the 2nd century A.D. Pausanias mentions that these were carried out under the auspices of Herod Atticus. In antiquity, the theatre was used for the vocal and musical contests which formed part of the programme of the Pythian Games in the late Hellenistic and Roman period.^[53] The theatre was abandoned when the sanctuary declined in Late Antiquity. After its excavation and initial restoration it hosted theatrical performances during the Delphic Festivals organized by A. Sikelianos and his wife, Eva Palmer, in 1927 and in 1930. It has recently been restored again as the serious landslides posed a grave threat for its stability for decades.^[54][55]

Tholos

The Tholos at the base of Mount Parnassus: 3 of 20 Doric columns.

Athena Pronaia Sanctuary at Delphi

The Tholos at the sanctuary of Athena Pronoia ( ?, "Athena of forethought") is a circular building that was constructed between 380 and 360 BC. It consisted of 20 Doric columns arranged with an exterior diameter of 14.76 meters, with 10 Corinthian columns in the interior.

The Tholos is located approximately a half a mile (800 m) from the main ruins at Delphi (at 38°28?49?N 22°30?28?E / 38.48016°N 22.50789°E / 38.48016; 22.50789). Three of the Doric columns have been restored, making it the most popular site at Delphi for tourists to take photographs.

The architect of the "vaulted temple at Delphi" is named by Vitruvius, in De architectura Book VII, as Theodorus Phoceus (not Theodorus of Samos, whom Vitruvius names separately).^[56]

Gymnasium

The gymnasium

The gymnasium, which is half a mile away from the main sanctuary, was a series of buildings used by the youth of Delphi. The building consisted of two levels: a stoa on the upper level providing open space, and a palaestra, pool and baths on lower floor. These pools and baths were said to have magical powers, and imparted the ability to communicate to Apollo himself.^[48]

Stadium

The mountain-top stadium at Delphi, far above the temples-theater below

The stadium is located further up the hill, beyond the via sacra and the theatre. It was originally built in the 5th century BC but was altered in later centuries. The last major remodelling took place in the 2nd century AD under the patronage of Herodes Atticus when the stone seating was built and (arched) entrance. It could seat 6500 spectators and the track was 177 metres long and 25.5 metres wide.^[57]

Hippodrome

It was at the Pythian games that prominent political leaders, such as Cleisthenes, tyrant of Sikyon, and Hieron, tyrant of Syracuse, competed with their chariots. The hippodrome where these events took place was referred to by Pindar,^[58] and this monument was sought by archaeologists for over two centuries.

Its traces have recently been found at Gonia in the plain of Krisa in the place where the original stadium was sited.^[59]

Polygonal wall

Section of polygonal wall at Delphi, behind a pillar from the Athenian Stoa

The retaining wall was built to support the terrace housing the construction of the second temple of Apollo in 548 BC. Its name is taken from the polygonal masonry of which it is constructed. At a later date, from 200 BC onwards, the stones were inscribed with the manumission contracts of slaves who were consecrated to Apollo. Approximately a thousand manumissions are recorded on the wall.^[60]

Castalian spring

The sacred spring of Delphi lies in the ravine of the Phaedriades. The preserved remains of two monumental fountains that received the water from the spring date to the Archaic period and the Roman, with the latter cut into the rock.

Athletic statues

Delphi is famous for its many preserved athletic statues. It is known that Olympia originally housed far more of these statues, but time brought ruin to many of them, leaving Delphi as the main site of athletic statues.^[61]Kleobis and Biton, two brothers renowned for their strength, are modeled in two of the earliest known athletic statues at Delphi. The statues commemorate their feat of pulling their mother's cart several miles to the Sanctuary of Hera in the absence of oxen. The neighbors were most impressed and their mother asked Hera to grant them the greatest gift. When they entered Hera's temple, they fell into a slumber and never woke, dying at the height of their admiration, the perfect gift.^[61]

The Charioteer of Delphi is another ancient relic that has withstood the centuries. It is one of the best known statues from antiquity. The charioteer has lost many features, including his chariot and his left arm, but he stands as a tribute to athletic art of antiquity.^[61]

The Charioteer of Delphi, 478 or 474 BC, Delphi Museum.

Architectural traditions

Ancient tradition accounted for four temples that successively occupied the site before the 548/7 BC fire, following which the Alcmaeonids built a fifth. The poet Pindar celebrated the Alcmaeonid's temple in Pythian 7.8-9 and he also provided details of the third building (Paean 8. 65-75). Other details are given by Pausanias (10.5.9-13) and the Homeric Hymn to Apollo (294 ff.). The first temple was said to have been constructed out of olive branches from Tempe. The second was made by bees out of wax and wings but was miraculously carried off by a powerful wind and deposited among the Hyperboreans. The third, as described by Pindar, was created by the gods Hephaestus and Athena, but its architectural details included Siren-like figures or 'Enchantresses', whose baneful songs eventually provoked the Olympian gods to bury the temple in the earth (according to Pausanias, it was destroyed by earthquake and fire). In Pindar's words, addressed to the Muses:

Muses, what was its fashion, shown

By the skill in all arts

Of the hands of Hephaestus and Athena?

Of bronze the walls, and of bronze

Stood the pillars beneath,

But of gold were six Enchantresses

Who sang above the eagle.

But the sons of Cronus

Opened the earth with a thunderbolt

And hid the holiest of all things made.

Away from their children

And wives, when they hung

Their lives on the honey-hearted words.^[62]

The fourth temple was said to have been constructed from stone by Trophonius and Agamedes.^[63] However, a new theory gives a completely new explanation of the above myth of the four temples of Delphi.^[3]

Delphi Archaeological Museum

Archaeological Museum of Delphi, designed by Alexandros Tombazis

The Delphi Archaeological Museum is at the foot of the main archaeological complex, on the east side of the village, and on the north side of the main road. The museum houses an impressive collection associated with ancient Delphi, including the earliest known notation of a melody, the famous Charioteer, golden treasures discovered beneath the Sacred Way, and fragments of reliefs from the Siphnian Treasury. Immediately adjacent to the exit (and overlooked by most tour guides) is the inscription that mentions the Roman proconsul Gallio.

Entries to the museum and to the main complex are separate and chargeable, and a reduced rate ticket gets entry to both. There is a small cafe, and a post office by the museum.

Excavations

The site had been occupied by the village of Kastri since medieval times. Before a systematic excavation of the site could be undertaken, the village had to be relocated but the residents resisted. The opportunity to relocate the village occurred when it was substantially damaged by an earthquake, with villagers offered a completely new village in exchange for the old site. In 1893 the French Archaeological School removed vast quantities of soil from numerous landslides to reveal both the major buildings and structures of the sanctuary of Apollo and of Athena Pronoia along with thousands of objects, inscriptions and sculptures.^[48]

The site is now an archaeological one, and a very popular tourist destination. It is easily accessible from Athens as a day trip, and is often combined with the winter sports facilities available on Mount Parnassus, as well as the beaches and summer sports facilities of the nearby coast of Phocis.

The site is also protected as a site of extraordinary natural beauty, and the views from it are also protected: no industrial artefacts are to be seen from Delphi other than roads and traditional architecture residences (for example high voltage power lines and the like are routed so as to be invisible from the area of the sanctuary).

5th-century Delphi

During the Great Excavation were discovered architectural members from a 5th-century Christian basilica, when Delphi was a bishopric. Other important Late Roman buildings are the Eastern Baths, the house with the peristyle, the Roman Agora, the large cistern usw. At the outskirts of the city there were located late Roman cemeteries.

To the southeast of the precinct of Apollo lay the so-called Southeastern Mansion, a building with a 65-meter-long façade, spread over four levels, with four triclinia and private baths. Large storage jars kept the provisions, whereas other pottery vessels and luxury items were discovered in the rooms. Among the finds stands out a tiny leopard made of mother of pearl, possibly of Sassanian origin, on display in the ground floor gallery of the Delphi Archaeological Museum. The mansion dates to the beginning of the 5th century and functioned as a private house until 580, later however it was transformed into a potters' workshop.^[64] It is only then, in the beginning of the 6th century, that the city seems to decline: its size is reduced and its trade contacts seem to be drastically diminished. Local pottery production is produced in large quantities:^[65] it is coarser and made of reddish clay, aiming at satisfying the needs of the inhabitants.

The Sacred Way remained the main street of the settlement, transformed, however, into a street with commercial and industrial use. Around the agora were built workshops as well as the only intra muros early Christian basilica. The domestic area spread mainly in the western part of the settlement. The houses were rather spacious and two large cisterns provided running water to them.^[66]

Depiction in art

View of Delphi with Sacrificial Procession by Claude Lorrain

From the 16th century onward, West Europe developed an interest in Delphi. In the mid-15th century Strabo was first translated in Latin. The earliest depictions of Delphi were totally imaginary, created by the German N. Gerbel, who published in 1545 a text based on the map of Greece by N. Sofianos. The ancient sanctuary was depicted as a fortified city.^[]

The first travelers with archaeological interests, apart from the precursor Cyriacus of Ancona, were the British George Wheler and the French Jacob Spon, who visited Greece in a joint expedition in 1675-1676. They published their impressions separately. In Wheler's "Journey into Greece", published in 1682, a sketch of the region of Dephi appeared, where the settlement of Kastri and some ruins were depicted. The illustrations in Spon's publication "Voyage d'Italie, de Dalmatie, de Grèce et du Levant, 1678" are considered original and groundbreaking.

Travelers continued to visit Delphi throughout the 19th century and published their books which contained diaries, sketches, views of the site as well as pictures of coins. The illustrations often reflected the spirit of romanticism, as evident by the works of Otto Magnus von Stackelberg, where, apart from the landscapes (La Grèce. Vues pittoresques et topographiques, Paris 1834) are depicted also human types (Costumes et usages des peuples de la Grèce moderne dessinés sur les lieux, Paris 1828). The philhellene painter W. Williams has comprised the landscape of Delphi in his themes (1829). Influential personalities such as F.Ch.-H.-L. Pouqueville, W.M. Leake, Chr. Wordsworth and Lord Byron are amongst the most important visitors of Delphi.

Delphi by Edward Lear features the Phaedriades.

After the foundation of the modern Greek state, the press became also interested in these travelers. Thus "Ephemeris" writes (17 March 1889): In the Revues des Deux Mondes Paul Lefaivre published his memoirs from an excursion to Delphi. The French author relates in a charming style his adventures on the road, praising particularly the ability of an old woman to put back in place the dislocated arm of one of his foreign traveling companions, who had fallen off the horse. "In Arachova the Greek type is preserved intact. The men are rather athletes than farmers, built for running and wrestling, particularly elegant and slender under their mountain gear." Only briefly does he refer to the antiquities of Delphi, but he refers to a pelasgian wall 80 meters long, "on which innumerable inscriptions are carved, decrees, conventions, manumissions."^[]

Gradually the first travelling guides appeared. The revolutionary "pocket" books invented by Karl Baedeker, accompanied by maps useful for visiting archaeological sites such as Delphi (1894) and the informed plans, the guides became practical and popular. The photographic lens revolutionized the way of depicting the landscape and the antiquities, particularly from 1893 onwards, when the systematic excavations of the French Archaeological School started. However, artists such as Vera Willoughby, continued to be inspired by the landscape.^[]

Delphic themes inspired several graphic artists. Besides the landscape, Pythia/Sibylla become an illustration subject even on Tarot cards.^[67] A famous example constitutes Michelangelo's Delphic Sibyl (1509),^[68][69][70] the 19th-century German engraving Oracle of Apollo at Delphi, as well as the recent ink on paper drawing "The Oracle of Delphi" (2013) by M. Lind.^[71] Modern artists are inspired also by the Delphic Maxims. Examples of such works are displayed in the "Sculpture park of the European Cultural Center of Delphi" and in exhibitions taking place at the Archaeological Museum of Delphi.^[]

In literature

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Delphi inspired literature as well. In 1814 W. Haygarth, friend of Lord Byron, refers to Delphi in his work "Greece, a Poem". In 1888 Charles Marie René Leconte de Lisle published his lyric drama L'Apollonide, accompanied by music by Franz Servais. More recent French authors used Delphi as a source of inspiration such as Yves Bonnefoy (Delphes du second jour) or Jean Sullivan (nickname of Joseph Lemarchand) in L'Obsession de Delphes (1967), but also Rob MacGregor's Indiana Jones and the Peril at Delphi (1991).

The presence of Delphi in Greek literature is very intense. Poets such as Kostis Palamas (The Delphic Hymn, 1894), Kostas Karyotakis (Delphic festival, 1927), Nikephoros Vrettakos (return from Delphi, 1957), Yannis Ritsos (Delphi, 1961-62) and Kiki Dimoula (Gas omphalos and Appropriate terrain 1988), to mention only the most renowned ones. Angelos Sikelianos wrote The Dedication (of the Delphic speech) (1927), the Delphic Hymn (1927) and the tragedy Sibylla (1940), whereas in the context of the Delphic idea and the Delphic festivals he published an essay titled "The Delphic union" (1930). The nobelist George Seferis wrote an essay under the title "Delphi", in the book "Dokimes".^[]

The importance of Delphi for the Greeks is significant. The site has been recorded on the collective memory and have been expressed through tradition. Nikolaos Politis, the famous Greek ethnographer, in his Studies on the life and language of the Greek people - part A, offers two examples from Delphi:

a) the priest of Apollo (176)

When Christ was born a priest of Apollo was sacrificing below the monastery of Panayia, on the road of Livadeia, on a site called Logari. Suddenly he abandoned the sacrifice and says to the people: "in this moment was born the son of God, who will be very powerful, like Apollo, but then Apollo will beat him". He didn't have time to finish his speech and a thunder came down and burnt him, opening the rock nearby into two. [p. 99]^[]

b)The Mylords (108)

The Mylords are not Christians, because nobody ever saw them cross themselves. They originate from the old pagan inhabitants of Delphi who kept their property in castle called Adelphi, named after the two brother princes who built it. When Christ and his mother came to the site, and all people around converted to Christianity they thought that they should better leave; thus the Mylords left for the West and took all their belongings with them. The Mylords come here now and worship these stones. [p. 59]^[]

Gallery

• 

  The theatre at Delphi

• 

  Ruins of the theatre at Delphi

• 

  Stacked stones

See also

• Aristoclea, Delphic priestess of the 6th century BC, said to have been tutor to Pythagoras
• Delphi Archaeological Museum
• Ex voto of the Attalids (Delphi)
• Franz Weber (activist) - made an honorary citizen of Delphi in 1997
• Greek art
• List of traditional Greek place names

Footnotes

Citations

References

• Broad, William J. The Oracle: Ancient Delphi and the Science Behind its Lost Secrets, New York : Penguin, 2006. ISBN 1-59-420081-5.
• Burkert, Walter, Greek Religion 1985.
• Connelly, Joan Breton, Portrait of a Priestess: Women and Ritual in Ancient Greece, Princeton University Press, 2007. ISBN 0691127468
• Dempsey, T., Reverend, The Delphic oracle, its early history, influence and fall, Oxford: B.H. Blackwell, 1918.
• Farnell, Lewis Richard, The Cults of the Greek States, in five volumes, Clarendon Press, 1896-1909. (Cf. especially, volume III and volume IV on the Pythoness and Delphi).
• Fearn, David. Bacchylides: Politics, Performance, Poetic Tradition. Oxford University Press, 2007. ISBN 9780199215508
• Fontenrose, Joseph Eddy, The Delphic oracle, its responses and operations, with a catalogue of responses, Berkeley: University of California Press, 1978. ISBN 0520033604
• Fontenrose, Joseph Eddy, Python; a study of Delphic myth and its origins, New York, Biblio & Tannen, 1974. ISBN 081960285X
• Goodrich, Norma Lorre, Priestesses, New York: F. Watts, 1989. ISBN 0531151131
• Guthrie, William Keith Chambers, The Greeks and their Gods, 1955.
• Hall, Manly Palmer, The Secret Teachings of All Ages, 1928. Ch. 14 cf. Greek Oracles,www, PRS
• Harissis H. 2015. "A Bittersweet Story: The True Nature of the Laurel of the Oracle of Delphi" Perspectives in Biology and Medicine. Volume 57, Number 3, Summer 2014, pp. 295-298.
• Harissis H. 2019. "Pindar's Paean 8 and the birth of the myth of the first temples of Delphi". Acta Classica : Proceedings of the Classical Association of South Africa, Volume 62 Number 1, 2019, p. 78 - 123.
• Herodotus, The Histories
• Homeric Hymn to Pythian Apollo
• Manas, John Helen, Divination, ancient and modern, New York, Pythagorean Society, 1947.
• Parke, Herbert William, History of the Delphic Oracle, 1939.
• Plutarch "Lives"
• Rohde, Erwin, Psyche, 1925.
• Seyffert, Oskar, "Dictionary of Classical Antiquities", London: W. Glaisher, 1895.
• Spiller, Henry A., John R. Hale, and Jelle Z. de Boer. "The Delphic Oracle: A Multidisciplinary Defense of the Gaseous Vent Theory." Clinical Toxicology 40.2 (2000) 189-196.
• West, Martin Litchfield, The Orphic Poems, 1983. ISBN 0-19-814854-2.
• Miller, Stephen G. (2004). Ancient Greek Athletics. New Haven and London: Yale University Press.
• Liritzis, I; Castro, ? (2013). "Delphi and Cosmovision: Apollo's absence at the land of the hyperboreans and the time for consulting the oracle". Journal of Astronomical History and Heritage. 16 (2): 184-206. Bibcode:2013JAHH...16..184L.
• Castro Belen, Liritzis Ioannis and Nyquist Anne (2015) Oracular Functioning And Architecture of Five Ancient Apollo Temples Through Archaeastronomy: Novel Approach And Interpretation Nexus Network Journal, Architecture & Mathematics, 18(2), 373-395 (DOI:10.1007/s00004-015-0276-2)
• Call of Duty: Black Ops 4 (2018) "Ancient Evil"

Further reading

• Adornato, G (2008). "Delphic Enigmas? The ?, Polyzalos, and the Charioteer Statue". American Journal of Archaeology. 112 (1): 29-55. doi:10.3764/aja.112.1.29.
• Davies, J. K. (1998). Finance, Administrations, and Realpolitik: The Case of Fourth-Century Delphi. In Modus Operandi: Essays in Honour of Geoffrey Rickman. Edited by M. Austin, J. Harries, and C. Smith, 1-14. London: Bulletin of the Institute of Classical Studies, Suppl. 71.
• Davies, John. (2007). "The Origins of the Destivals, especially Delphi and the Pythia." In Pindar's Poetry, Patrons, and Festivals: From Archaic Greece to the Roman Empire. Edited by Simon Hornblower and Catherine Morgan, 47-69. Oxford: Oxford Univ. Press.
• Kindt, Julia. (2016). Revisiting Delphi: Religion and Storytelling in Ancient Greece. Cambridge Classical Studies. Cambridge; New York: Cambridge University Press.
• Maurizio, Lisa (1997). "Delphic Oracles as Oral Performances: Authenticity and Historical Evidence". Classical Antiquity. 16 (2): 308-334. doi:10.2307/25011067. JSTOR 25011067.
• McInerney, Jeremy (2011). "Delphi and Phokis: A Network Theory Approach". Pallas. 87: 95-106. doi:10.4000/pallas.1948.
• McInerney, Jeremy (1997). "Parnassus, Delphi, and the Thyiades". Greek, Roman and Byzantine Studies. 38 (3): 263-284.
• Morgan, Catherine. (1990). Athletes and Oracles. The Transformation of Olympia and Delphi in the Eighth Century BC. Cambridge, UK: Cambridge Univ. Press.
• Partida, Elena C. (2002). The Treasuries at Delphi: An Architectural Study. Jonsered, Denmark: Paul Åströms.
• Scott, Michael, Delphi: A History of the Center of the Ancient World (Princeton, NJ: Princeton University Press, 2014). ISBN 978-0-691-15081-9
• Scott, Michael. (2010). Delphi and Olympia: The Spatial Politics of Panhellenism in the Archaic and Classical Periods. Cambridge and New York: Cambridge Univ. Press.
• Temple, Robert K.G., "Fables, Riddles, and Mysteries of Delphi", Proceedings of 4th Philosophical Meeting on Contemporary Problems, No 4, 1999 (Athens, Greece) In Greek and English.
• Weir, Robert G. (2004). Roman Delphi and its Pythian games. BAR Series 1306. Oxford: Hadrian.

5th-century evidence

• Petrides, P., 2010, La céramique protobyzantine de Delphes. Une production et son contexte, École française d'Athènes, Fouilles de Delphes V, Monuments figurés 4, Paris - Athènes.
• Petrides, P., Déroche, V., Badie, A., 2014,Delphes de l'Antiquité tardive. Secteur au Sud-est du Péribole, École française d'Athènes, Fouilles de Delphes II, Topographie et Architecture 15, Paris-Athènes.
• Petrides, P., 1997, «Delphes dans l'Antiquité tardive : première approche topographique et céramologique», BCH 121, pp. 681-695.
• Petrides, P., 2003, «?teliers de potiers protobyzantins à Delphes », in ?. ? (ed.), 7? ? , 11-16 1999, , , pp. 443-446.
• Petrides, P., 2005, «Un exemple d'architecture civile en Grèce : les maisons protobyzantines de Delphes (IVe-VIIe s.)», Mélanges Jean-Pierre Sodini, Travaux et Mémoires 15, Paris, pp. 193-204.
• Petrides, P., Demou, J., 2011, « La redécouverte de Delphes protobyzantine », Pallas 87, pp. 267-281.

External links

General

• Delphic Oracle on In Our Time at the BBC
• Official website of the archaeological site
• Official website of the museum
• Michael Scott. "Delphi: The Bellybutton of the Ancient World". BBC 4. Retrieved 2010. Missing or empty |series= (help)
• Homepage of the modern municipality (in English and Greek)
• Hellenic Ministry of Culture: Delphi

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• C. Osborne, "A Short detour to Delphi and the Sibyls"
• Eloise Hart, "The Delphic oracle"
• III JUNIOR DELPHIC GAMES 2007 Baguio City, Philippines - November 10 to 15
• [1]
• International Delphic Council
• ASHES2ART Digital Delphi
• Delphi-Help - Delphi (RUSSIA)
• European Cultural Centre of Delphi
• Images of the ancient sanctuary of Delphi
• Informations about the monuments in Delphi

Geology

• "Fumes and Visions Were Not a Myth for Oracle at Delphi". The New York Times. March 19, 2002.
• Hale, John R.; et al. (August 2003). "Questioning the Delphic Oracle: When science meets religion at this ancient Greek site, the two turn out to be on better terms than scholars had originally thought". Scientific American. Archived from the original on 2007-09-26. Retrieved .
• Higgins, Michael; Higgins, Reynold (1996). A Geological Companion to Greece and the Aegean. Cornell University Press.
• "Odds and Ends: Geology of Delphi". About.com. Archived from the original on 2005-09-19.
• Roach, John (August 2001). "Delphic Oracle's Lips May Have Been Loosened by Gas Vapors". National Geographic News.