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The National Archaeological Museum (Εθνικό Αρχαιολογικό Μουσείο) in Athens, Greece, contains the richest collection of Greek antiquities in the world. It’s located in the Exarcheia area.
History of the National Archaeological Museum
The National Archaeological Museum was founded in 1829 by Ioannis Kapodistrias (1776-1831), the first governor of Greece. It was originally located on the island of Aegina and transferred to Athens when the city became the capital of Greece in 1834. The collection was initially kept in several different museums and locations until a permanent building could be constructed.
In 1858, an international architectural competition was launched for the location and design of the museum building. Construction started in 1866 on land donated by Eleni Tositsa (1796-1866). Demetrios and Nikolaos Bernardakis from Saint Petersburg, Russia, funded most of the building. The National Archaeological Museum finally opened to the public in 1889.
During World War II, the National Archaeological Museum closed and the antiquities were boxed and buried in the basement of museums and other places to avoid their destruction and looting. After the war, the building was renovated and reopened to the public in 1947. The collection has been expanding with new sections opening ever since.
The collection of the National Archaeological Museum spans from the 6th millennium BC to the 4th century. Artifacts come from Greece, Cyprus, Egypt, Italy, and other regions of the ancient Greek world.
National Archaeological Museum Building
The Neoclassical building of the National Archaeological Museum was designed by German architect Ludwig Lange (1808-1868), while fellow German architect Ernst Ziller (1837-1923) made modifications to the façade. The east wing was added in the early 20th century based on plans by Greek architect Anastasios Metaxas (1862-1937). Greek architect George Nomikos designed another two-story addition built between 1932 and 1939. There have been present discussions to further expand the museum to accommodate its growing collection.
Inner Garden
The inner garden of the National Archaeological Museum contains a café and the museum shop. There are some sculptures lining the perimeter of the garden.
Garden
The garden in front of the museum is a pleasant place to relax before or after exploring the collection. There’s a café as well as a sculpture, Promahones, by Venia Dimitrakopoulou. It was erected in 2014.
Visiting the National Archaeological Museum
The National Archaeological Museum is open daily. It’s located in the Exarcheia area. The nearest metro stations are Omonoia and Victoria.
From April 1 through October 31, admission is at the full rate of €12, and from November 1 through March 31, admission is at a 50% reduced rate of €6 (as of August 2024). Upon presentation of a passport or valid travel document: all visitors up to the age of 5 and EU citizens from age 6-25 are admitted free of charge; and EU seniors over age 65 and non-EU citizens from age 6-25 are admitted at the 50% reduced rate (summer months only). Check the official website for more info.
The National Archaeological Museum is huge and can be overwhelming with all of the items. On all of my visits, there were at least a few galleries closed for maintenance, and I even though I still spent almost two hours inside, I still felt I rushed myself. Give yourself at least two to three hours to properly see the entire collection.
Prehistoric Collection of the National Archaeological Museum
The Prehistoric Collection of the National Archaeological Museum consists of artifacts representing the major civilizations of the Aegean Sea from the 7th millennium to around 1050 BC. It also includes works of the Neolithic period and the Bronze Age from mainland Greece, the Aegean islands, and Troy.
Mycenaean Antiquities
Hall 4, the largest hall of the Prehistoric Collection, includes Mycenaean antiquities.
Royal Tombs of Mycenae
The first section displays treasures of the royal tombs of Mycenae. The artifacts date to the 16th century BC.
Grave Circle A
In the first room are finds from Grave Circle A, which contains six shaft graves. A total of 19 men, women, and children were buried there, positioned on their backs, with 2 to 5 bodies per shaft. It was excavated from 1876 to 1877 by German archaeologist Heinrich Schliemann (1822-1890) and Greek archaeologist Panagiotis Stamatakis (c. 1835-1885).
Grave Circle A was rich in gold jewelry, pottery, weapons, and bronze objects from the 16th to early 15th centuries BC. There were also imported materials such as amber, ostrich eggs, and lapis lazuli. This indicated the high social rank of those found in the tomb.
Among the highlights are the Mask of Agamemnon from Grave V. Schliemann believed he had found the body of Mycenaean king Agamemnon, but the mask predates the Trojan War by about 300-400 years. It was created out of a single thick sheet of gold. Another highlight is a series of gold cups found in Graves IV and V.
Of the weapons found in the tomb, there were type A and type B swords. The type A sword is believed to be a Minoan invention. It was fragile due to the weak attachment of the handle to the blade and was more for symbolic and ritual use. The type B sword was a Mycenaean invention and more advanced. It was shorter, stronger and more durable.
Grave Circle B
In the next room are finds from Grave Circle B, which consists of 26 total graves. 14 are shaft graves and the rest are cists. A total of 35 men, women, and children were buried in the graves, with many of the men displaying signs of physical injury.
Grave Circle B was discovered by accident in 1951 and it had not been looted. Greek archaeologists Ioannis Papadimitriou and Georgios Mylonas (1898-1988) carried out excavations from 1952 to 1954. The artifacts are not as opulent as those found in Grave Circle B, but about half of the offerings were from the Cyclades and Minoan Crete. The findings allowed the archaeologists to develop a detailed analysis of Mycenaean society in the 17th century BC.
Mycenaean Palaces
The second section of Mycenaean antiquities features items from the palaces of Mycenae, Tiryns, and Pylos. This includes ceramics, wall paintings, and tomb findings.
Items of note are the two gold cups found at the Vaphio tholos tomb near Sparta in Lakonia. They date to the 15th century BC and were discovered in 1888 by Greek archaeologist Christos Tsountas (1857-1934). He found them inside an undisturbed burial pit under the tomb’s floor. The cups depict the capture of bulls.
Tsountas also excavated the chamber tombs at Mycenae between 1887 and 1898. There he found items made of gold, silver, and bronze, including weapons, vessels, and jewelry, He also found a boar’s tusk helmet with cheek guards and double bone hook on top. The artifacts date to the 14th and 13th centuries BC.
The Linear B tablets from Pylos, which date to the 13th century BC, illustrate the first written form of the Greek language. It descended from the older Linear A script used by the Minoans and predates the Greek alphabet by several centuries.
Finally, finds from the palace at Tiryns include wall paintings and the Tiryns throne. The wall paintings were made in the 14th and 13th centuries BC and represent hunting scenes. Fragments of the 14th century BC stone podium that supported the royal throne are decorated with spirals.
Cycladic Antiquities
Hall 6, which is connected to the right side of Hall 4, displays Cycladic antiquities spanning from 3200 to 1100 BC. It includes weapons, tools, and figurines made with raw materials found on the Cyclades.
Among the most impressive artifacts are two large female figures dating to the Early Cycladic II period between 2800 and 2300 BC. The first, from Amorgos, is 1.52 meters high and made of parian marble. It depicts the figures with arms folded under the breasts and is thought to be a female divinity. The second is 89 centimeters in height and was probably from Naxos. It has folded arms with traces of color on the hair and eyes. It was part of the illicit antiquities trade and was repatriated from the Badisches Landesmuseum in Karlsruhe, Germany, in 2014.
Neolithic and Bronze Age Antiquities
To the left of the Mycenaean antiquities is Hall 5, which includes Neolithic and Bronze Age antiquities dating between 6800 and 3300 BC. Most of the artifacts were found in Thessaly, specifically Sesklo and Dimini.
Sculpture Collection of the National Archaeological Museum
The Sculpture Collection is the largest collection at the National Archaeological Museum, containing around 16,000 sculptures. It takes up several galleries surrounding the inner garden.
Archaic Sculptures
The first section covers Archaic sculptures. They date from the 8th through 6th century BC. It starts in Rooms 7 and 8 with the rise of the Daedalic style, which was the earliest phase of monumental sculpture. It’s named after the legendary sculptor Daedalus and dates from the first quarter of the 7th century BC to about 620 BC. Many people believe Daedalus, who was first mentioned around 1400 BC, was a real person who became mythified.
The exhibit continues in Rooms 11, and 13, where 6th century sculptures are on display. The Archaic sculptures close out in Room 14, with items from the Late Archaic period dating between 500 to 480 BC.
Dipylon Amphora
One of the most impressive pieces in the first room, Room 7, is the Dipylon Amphora, a monumental Attic grave amphora from the Kerameikos cemetery. It’s attributed to the Dipylon Painter and dated between 790 and 750 BC. The amphora was found intact on an aristocratic gravesite near the Dipylon. It’s one of the highlights of the National Archaeological Museum.
The main scene of the amphora shows the funeral and mourning for the dead. It depicts men, women, and a child lamenting with their hands on their heads.
Daedalic Statue
Opposite the amphora is a Daedalic female statue found in Delos in the sanctuary of Artemis. Dating to around 650 BC, it’s one of the earliest monumental statues in stone and probably represents Artemis. The inscription carved on the left thigh indicates the statue was dedicated to Apollo by the Naxian Nikandre.
Sounion Kouros
In Room 8 is another of the highlights of the museum. The Sounion Kouros, made of marble from Naxos, is one of the largest and most impressive of its kind. It stands 3.05 meters (10 feet) tall and was found in a deposit in front of the Temple of Poseidon at Cape Sounion. The statue was a votive offering to Poseidon. It’s dated to around 600 BC.
Phrasikleia Kore and Merenda Kouros
In Room 11 are a few more impressive sculptures, starting with a kore and kouros standing side by side. Both were found in 1972 at the grave of Phrasikleia in Merenda (ancient Myrrhinus).
The Phrasikleia Kore was made of Parian marble by the sculptor Aristion of Paros sometime between 550 and 540 BC. It stood atop the grave of Phrasikleia. Her chiton is painted and decorated with rosettes, swastikas, stars, and meanders. Her left arm holds an unopened lotus flower. On her head is a garland of flowers and on each arm is a bracelet. The sculpture is 2.11 meters (6.92 feet) tall.
The Merenda Kouros was made of Parian marble sometime between 540 and 530 BC. It stands 1.89 meters high and was found in the same pit as Phrasikleia. The Merenda Kouros is extremely well preserved and contains some traces of red paint. His right hand and both feet are missing.
Sphinx
Also in Room 11 is a statue of a sphinx made of Pentelic marble around 570 BC. It was found in Spata, Attica, and is one of the earliest known Archaic Sphinxes. It was used as part of a grave stele.
Kroisos Kouros
Room 13 contains the Kroisos Kouros, which was made sometime between 540 and 515 BC and found at Anavyssos. It was used as a grave marker for a warrior named Kroisos and stands 1.95 meters high.
The Kroisos Kouros arrived at the National Archaeological Museum in three shipping cases in August 1937. It had been illegally excavated, smuggled out of Greece, and sent to Paris before it was returned to the museum by art dealer M. Roussos.
The epigram on the base of the statue reads:
Stop and mourn at the grave of dead Kroisos, whom the raging Ares destroyed when he fought among the defenders.
Relief Plaque
Nearby is a relief plaque dating to about 500 BC. It’s made of Parian marble and was found in Athens near Thiseio.
The plaque probably belonged to a funerary monument. It depicts a naked youth with a helmet, running to the right. The youth is possibly an athlete participating in the hoplite race or a pyrrhic dancer.
Fragment of a Grave Stele
Also in Room 13, I noticed a fragment of a grave stele that still had paint on it. It was found in Athens and made of Pentelic marble around 500 BC. The fragment comes from a large stele representing a man, but only the feet are preserved. It depicts the image of a rider against a red background.
Base for a Funerary Kouros
The final item I admired in Room 13 is a base for a funerary kouros. It was found in Athens built into the Themistoclean Wall at Kerameikos. The base, which is made of Pentelic marble and dates to around 510 BC, would have stood on the grave of an athlete.
Three faces of the base are decorated in relief. The front depicts a scene from the palaestra with two wrestlers in the center, an athlete on the left preparing to jump, and another on the right tending the pit. The left side depicts six athletes practicing athletics. Finally, the right side depicts two seated youths putting a dog and cat to fight. What’s impressive about the base are the traces of paint on the right side.
Sculptures from the Temple of Aphaia
The final room presenting Archaic sculptures is Room 14. On the left side are sculptures from the Temple of Aphaia at Aegina. It was excavated by German archaeologist Adolf Furtwängler (1853-1907) in 1901. The east pediment of the temple contains 11 figures and depicts the First Trojan War. The west pediment depicts the Second Trojan War and contains 13 figures. Only a small collection of artifacts are located at the National Historical Museum. Many are housed in the Glyptothek in Munich.
Statuette of Poseidon
Lastly, before entering the Classical sculptures galleries, is a bronze statuette of Poseidon. It dates to around 480 BC and was found in the Gulf of Livadostra in Boeotia, at the site of ancient Kreusis. His eyes were inlaid with a different material.
Classical Sculptures
The next section of the Sculpture Collection is Classical sculptures. The Classical period is marked with the establishment of democracy in Athens by Cleisthenes (c. 570 – c. 508 BC) in 508/7 BC and the defeat of the Persians. The Classical sculptures start in Room 15 with works from the 5th century BC.
Other rooms cover various subjects, such as grave monuments and votive reliefs, before winding down to the 4th century BC in Room 28. The end of the late Classical period is marked by the rise of Alexander the Great.
Artemision Bronze
The first Classical sculpture of note, and one of the highlights of the National Archaeological Museum, is the Artemision Bronze located in Room 15. This bronze statue was found in the sea off Cape Artemision in northern Evia and dates to about 460 BC. According to most scholars, it depicts Zeus but some believe it depicts Poseidon.
The Artemesion Bronze stands 2.09 meters high and would have held a thunderbolt if Zeus or a trident if Poseidon. It was discovered in 1926 at the site of a shipwreck that occurred in the 2nd century BC. The head of the Artemision Bronze was featured on the 1,000 drachma banknote first issued in 1970.
Great Eleusinian Relief
In the same room is a votive relief made of Pentelic marble sometime between 440 and 430 BC. It was found in Eleusis and was dedicated to the Sanctuary of Demeter and Kore. It represents a scene of the Eleusinian mysteries. On the left is Demeter holding a scepter in her left hand and offering wheat to Triptolemus, son of the Eleusinian King Keleus, to bestow on mankind. On the right is Persephone holding a torch and blessing Triptolemus with her right hand.
The relief is the largest and most important known votive relief. It was famous in antiquity and was copied in the Roman period. One of the copies is now in the Metropolitan Museum of Art in New York.
Attic Funerary Monuments
Room 16 displays Attic funerary monuments, which had been banned by Cleisthenes in the late 6th century BC. In an attempt to slow down a fast spreading plague that had broken out at the start of the Peloponnesian War (431-404 BC), Athenians began to cremate their dead en masse. The plague lasted until 425 BC and even claimed the life of Pericles (c. 495 – 429 BC). A change in the political climate brought about the reappearance of the monuments in the first decade of the war. The erection of funerary monuments lasted until 317 or 307 BC, when they were banned again by Demetrius of Phaleron (c. 350 – c. 280 BC).
5th Century BC Grave Stele
A grave stele dating to the end of the 5th century BC sits in Room 16. It was made of Thespian marble and found in the outskirts of Thebes. The stele depicts two seated figures facing each other. On the right is a bearded man with a staff and on the left is a woman. Three figures stand behind them, two men and a woman. A very small female attendant can be seen behind the woman’s chair.
Grave Stele with Painted Ribbon
One of the most interesting artifacts in Room 16 is a grave stele found at the Kerameikos cemetery. The only decorative element of the monument, which was erected on the grave of a woman named Hediste, is a red painted bow. It dates to about 400 BC and is made of Hymmetian marble.
Statue of Hermes
Moving on to Room 17, there’s a statue of Hermes made of Pentelic marble. It was found in Troezen and is actually a 2nd century copy of a late 5th century BC original attributed to Naukydes of Argos. Hermes is shown naked holding the horns of a ram sitting next to him.
Xenokrateia Relief
Also in Room 17 is the Xenokrateia Relief. It’s a votive relief made of Pentelic marble around 410 BC. It was found in Neo Faliro, Piraeus, in 1908 and commemorates the foundation of a sanctuary to the river god Kephisos by a woman named Xenokrateia. The relief depicts 13 figures, including Xenokrateia in the center presenting a child, Xeniades, to Kephisos. On the left is Apollo sitting on the Delphic tripod. On the right is Acheloos shown as a humanized bull.
Argive Heraion
At the back of Room 17 are fragments of the Argive Heraion. It was very old and important sanctuary dedicated to Hera located between Argos and Mycenae. The first temple was built in the 7th century BC and may have replaced an older, smaller temple. The 7th century BC temple was destroyed by fire in 423 BC thanks to “neglect on the part of the priestess Chryseis”. A new Doric temple was built by architect Eupolemos of Argos sometime between 420 and 410 BC. The east pediment of the temple depicted the birth of Zeus along with Gigantomachy on the east metopes. The west pediment depicted the Sack of Troy while the west metope depicted the Trojan Amazonomachy. The foundations and parts of the superstructure of the 5th century temple still exist.
![Fragments of the Argive Heraion; 420-410 BC]({"aperture":"1.78","credit":"","camera":"iPhone 14 Pro","caption":"THE ARGIVE HERAION\nThe sanctuary of Hera, which lies on a low hill between Argos and Mycenae, was a very old and highly important cult centre.\nThe first temple of Hera was built in the 7th c. BC, probably to replace an earlier ocus or small temple, as is shown by a clay model dating from the early 7th c. BC found during the excavation of the sanctuary (Collection of Vases, Room 52, inv. no. 15471).\nThe 7th-century temple was destroyed to the ground by fire caused by neglect on the part of the priestess Chryseis in 423 BC.\nAfter the first temple was destroyed, a new Doric peripteral temple was built to the goddess by the architect Eupolemos of Argos about 420-410 BC, on a terrace lower than the old temple. The foundations of the 5th-century temple are still preserved, along with parts of the superstructure and of its lavish sculptural decoration. The birth of Zeus was depicted on the pediment of the east side of the temple, while Gigantomachy was represented on the metopes of this same side. The west side of the temple was dominated by depictions of themes drawn from the Trojan War cycle. The west pediment had a representation of the Sack of Troy; to it belongs the Palladion clutched in her arms by the suppliant Cassandra, daughter of Priam, the king of Troy (inv. no. 3869). The metopes of this side depict the Trojan Amazonomachy (inv. nos. 1572-1574, 3500, 4070. Several pieces of the sima are preserved from the superstructure of the temple (inv. nos. 1579-1583, 3973-3975, 3979A and 4400-4404): water-spouts in the form of lion's heads, relief palmettes, tendrils and cuckoos, the bird sacred to the goddess. The colossal gold and ivory cult statue of Hera that will have stood inside the temple was the work of the Argive sculptor\nPolykleitos. Its form is known from depictions on coins of Argos issued in the\n2nd c. AD and from the description by the travel-writer Pausanias.","created_timestamp":"1699790987","copyright":"","focal_length":"6.86","iso":"160","shutter_speed":"0.02","title":"","orientation":"1"})
Roman Copies of Classical Statues
Room 20, an offshoot of Room 17, contains some impressive Roman copies of Classical statues.
Statue of Nemesis
First is a marble statue of Nemesis. It was found in Athens and is a 2nd century Roman copy of the cult statue at Rhamnous, originally sculpted around 430 BC by Agoracritus, a student of Phidias (c. 480 – 430 BC). Nemesis was shown holding an apple branch and a phiale.
Amazon Caryatid
On the other side of Room 20 is a statue of an Amazon Caryatid. It’s made of marble and was found in the Loukou Monastery in Kynouria. It was made in the 2nd century and was inspired by the Amazon carved by Phidias for the Temple of Artemis at Ephesus between 440 and 430 BC. The statue “adorned the post of a gate at the villa of Herodes Atticus“.
![Amazon Caryatid; marble; found in the Loukou Monastery in Kynouria; 2nd century]({"aperture":"1.78","credit":"","camera":"iPhone 14 Pro","caption":"Statue of an Amazon-Karyatid. Marble.\nFound in the Loukou Monastery, in Kynouria.\nThe statue adorned the post of a gate at the villa of Herodes Atticus.\nIt rests on a rectangular base, decorated on the face with a relief pelte,\nthe shield of the Amazons. Work of the 2nd century AD., inspired\nby the Amazon carved by Pheidias for the temple of Artemis\nat Ephesos around 440 - 430 BC.","created_timestamp":"1699791104","copyright":"","focal_length":"6.86","iso":"125","shutter_speed":"0.02","title":"","orientation":"1"})
Varvakeion Athena
Finally, at the back of the room is the Varvakeion Athena, sculpted in the first half of the 3rd century. It’s considered the most faithful reproduction of the chryselephantine cult state of Athena Parthenos by Phidias, which was erected in the Parthenon in 438 BC. The statue is made of Pentelic marble and was found in Athens near the Varvakeion School, hence the name. It’s 1.05 meters (41 inches) tall, which is approximately 12 times smaller than the original, and bears traces of red and yellow paint.
Cemeteries of Ancient Athens
Room 18 displays finds from the cemeteries of ancient Athens, which were located outside the city gates and extended along the main streets connecting Athens with Piraeus and other demes. The most important cemetery was at Kerameikos, on the road to Eleusis. It contained the graves of many prominent families and memorials to foreign ambassadors. Outside the Dipylon Gate at Kerameikos was the Demosion Sema, where the war dead and important politicians were buried at the expense of the state. Other important cemeteries were outside the Diochares Gate at the site of present-day Syntagma Square and outside Piraeus.
Grave Stele of Phylone
The first one that caught my eye was made of Pentelic marble and found northeast of Athens in Psychiko. It belonged to a young mother named Phylone and is dated to the first quarter of the 4th century BC. The stele depicts Phylone seated on a stool. Another standing woman holds Phylone’s baby, who is extending its arms toward his mother.
Grave Stele from Piraeus
The next stele, also made of Pentelic marble, was found in Piraeus and dates to the first quarter of the 4th century BC. It depicts a woman sitting on a stool with her head lowered in sorrow. A maiden standing in front of her holds an open chest containing the dead woman’s jewelry. This stele was probably made by the same sculptor of the previous stele.
Grave Stele of Aminokleia
Nearby is the grave stele of Aminokleia, daughter of Andromenes. It’s made of Pentelic marble and dates to the second quarter of the 4th century BC, was found in Piraeus. It depicts a standing young woman supporting herself with her right hand on the head of her kneeling attendant, who helps her put on her sandal. In the background is a standing woman holding a chest containing Aminokleia’s jewelry.
Grave Stele from Kerameikos
Finally is a grave stele made of Pentelic marble dating to the second quarter of the 4th century BC. It was found in the ancient cemetery of Kerameikos. It depicts a mature woman seated on a stool bidding farewell to her daughter. A standing bearded man, likely the father, faces her showing an expression of grief and contemplation. The stele is missing its pedimental crown.
Jockey of Artemision
In Room 21, a central room connecting with other sections of the museum is the Jockey of Artemision. It’s a bronze statue of a horse and young jockey and dates to about 140 BC. The jockey would have held the reins in his left hand and a whip in his right hand. It’s 2.9 meters (9 ½ feet) and 2.1 meters (6.9 feet) high. The figure of the boy is only 84 centimeters (2.76 feet) tall.
The Jockey of Artemision was discovered at the site of the same shipwreck where the Artemision Bronze was found. The first parts of the sculpture were recovered in 1928 and the rest in 1937 and 1938. The Jockey of Artemision was reassembled in 1971 and put on display at the National Archaeological Museum the following year.
Cult Sanctuaries
Room 34, which is between Room 21 and the stairs leading to the galleries on the upper floor, contains statues and votive reliefs from various cult sanctuaries.
Sanctuary of Aphrodite at Daphni
First, on the south side of the room are artifacts from the Sanctuary of Aphrodite at Daphni, where she was worshipped as the goddess of fertility and of the rebirth of nature. It was the most important sanctuary of Aphrodite in Attica and sat along the Sacred Way leading to Eleusis. The sanctuary functioned from the second half of the 5th century BC through the Roman period. On display, along with a torso of the cult statue of Aphrodite, are figurines of doves that were often left as dedications.
Cult of the Nymphs and Pan
On the opposite side of the room are offerings found at sanctuaries dedicated to the Nymphs and Pan, who were connected with fertility and nature. The Nymphs and Pan were often worshipped jointly, in open-air sanctuaries or caves near rivers. Important sanctuaries existed on the north and south slopes of the Acropolis.
Votive Relief of the Nymphs and Pan
One item on display is a votive relief of the Nymphs and Pan and its base, which is made of marble and dates to about 330 BC. It was found in the Cave of the Nymphs on Mount Penteli in Attica. The relief was dedicated to the Nymphs by Agathemeros, who’s depicted on the right holding a kantharos being filled by a nude wine server. In front of them is Pan sitting on a rock holding a panpipe. Next to him is Hermes holding the caduceus and wearing a chlamys with three Nymphs behind him.
Table Support Shaped as Pan
Nearby is a table support shaped as Pan. It’s made of Pentelic marble and was found in Piraeus. It depicts Pan wearing an animal pelt and holding a panpipe in his left hand. The support is a 2nd century copy of a 4th century BC original.
Statue of Pan
Finally, there’s a statue of Pan found in Sparta. It’s made of Parian marble and is a 1st century copy of a 4th century BC original. He’s wearing an animal pelt and holding a panpipe in his left hand, with a broad smile across his face.
Cult of Heracles
The next section on the north side of the room contains dedications from the cult of Heracles (or Hercules), who had great physical and psychological strength. He’s the “champion of justice, the symbol of the victory of civilization over barbarian forces”. According to myth, Heracles was one of the founders of the Olympic Games. The Twelve Labors of Heracles were a common subject of ancient Greek art. In Athens, Heracles was worshipped from the Late Archaic period onwards.
Relief of Heracles from Melite
One of the most important sanctuaries dedicated to Heracles was in the deme of Melite, where the present-day Thiseos Square is located. A marble votive relief on display, found built into the Church of St. Demetrios at Marousi, was from that sanctuary. It dates to the middle of the 4th century BC and depicts Heracles holding his club and a bowl. Two worshippers, a nude youth and an older man, probably his father, approach him.
Votive Relief of Heracles
Nearby is a marble votive relief found in Monastiraki Square. It depicts Heracles reclining on a lion’s pelt spread on a rock. Above his head are leaves of a plane tree. It’s a 2nd century of a Hellenistic period original.
Altar of Aphrodite
Finally, in the center of Room 34 is a marble altar found in the ancient Agora of Athens. According to the inscription, it was dedicated by the Boule (council) to Aphrodite Hegemone and the Graces. It dates to 194/3 BC.
Asclepeion at Epidauros
In Room 22 are sculptures from the Asclepeion at Epidauros, which was the earliest organized healing center in ancient Greece. The Asclepeion was founded in the middle of the 6th century BC, but the beginnings of the cult date back to the 16th century BC on the Kynortion Hill near the Asclepeion. A large sanctuary functioned there as early as the Mycenaean period.
![]({"aperture":"1.78","credit":"","camera":"iPhone 14 Pro","caption":"THE ASKLEPIEION AT EPIDAUROS\nThe Asklepieion at Epidauros, the earliest organised centre of healing in ancient Greece, was founded in the middle of the 6th c. BC. The beginnings of a cult relating to the securing of human health and prosperity go back to the 16th c. BC on the Kynortion Hill in the area of the Asklepieion. On this site a large sanctuary was built and functioned as early as the Mycenaean period. In the 8th c. BC the god Apollon, well-known for his healing capacity, was worshipped here with the epithet Maleatas.\nAbout the middle of the 6th c. BC, when the facilities on the Kynortion Hill were no longer adequate for the continuously increasing number of worshippers, a new sanctuary, the Asklepieion, was created at Epidauros, dedicated to Apollon Maleatas and his son, the chthonic deity Asklepios. Down to the end of the 5th c. BC, the cult of Asklepios gradually became predominant in the new sanctuary. The sanctuary of Asklepios enjoyed great fame in the 4th c. BC, when the wide dissemination of the god's cult in the rest of the Greek world resulted in the accumulation of great wealth by the sanctuary, on the basis of which it was developped in monumental form. The large Doric temple of Asklepios was built about 390-375 BC, followed in 375 BC by the Theater and the Abaton or Enkoimeterion (in which patients slept on the ground, waiting for the god to appear to them and prescribe a cure for their illness), and in 365-335 BC by the Tholos. The late 4th and early 3rd c. BC saw the construction of the Gymnasium (probably a ceremonial Banqueting Hall), the Katagogeion (a hostel for patients and their relatives), the Fountain House and a large number of smaller temples or sacred buildings devoted to cults related to that of Asklepios and Apollon, one of which was the Doric temple of Artemis. The Asklepieion enjoyed another period of fame and prosperity in the Roman period, when new buildings were erected and old ones repaired at the expense of Antoninus, a member of the Roman senatorial order, in the 2nd c. AD. Worship in the sanctuary ceased in AD 526, when the ancient cults were prohibited by the emperor Justinian. THE TEMPLE OF ASKLEPIOS\nThe large Doric peripteral temple of Asklepios was built between the years 390-375 BC. An inscription found in the area of the sanctuary provides considerable information about the temple and its sculptural decoration. According to it, the architect of the temple was Theodotos, while the sculptor Timotheos undertook to make the preliminary models of the sculptures for the pediments and the akroteria. He himself carved the akroteria on the west side and probably also the sculptures for the west pediment, which depicted the Amazonomachy. The sculptures on the east pediment, depicting the Sack of Troy, were by the sculptor Hektoridas, though the name of the sculptor who made the akroteria on this side remains unknown. Inside the temple stood the gold and ivory statue of Asklepios made by the sculptor Thrasymedes of Paros.","created_timestamp":"1686240924","copyright":"","focal_length":"6.8600001335176","iso":"125","shutter_speed":"0.0082644628099174","title":"","orientation":"1"})
Temple of Asclepius
The Temple of Asclepius was built between 390 and 375 BC. The architect was Theodotos. The sculptor Timotheus (d. c. 340 BC) probably carved the sculptures for the west pediment, which depicted the Amazonomachy. The sculptures on the east pediment, depicting the Sack of Troy, were by the sculptor Hektoridas. Inside the temple was the chryselephantine statue of Asclepius made by the sculptor Thrasymedes of Paros.
![Figures from the west pediment of the Temple of Asclepius at Epidauros; attributed to Timotheus; Pentelic marble; c. 380 BC]({"aperture":"1.78","credit":"","camera":"iPhone 14 Pro","caption":"WEST PEDIMENT AND AKROTERIA\nOF THE TEMPLE OF ASKLEPIOS\nThe west pediment depicts the battle between the Greeks and the Amazons before the walls of Troy.\nThe figures are in a highly fragmentary state of preservation, but we may note, in the centre, the higure ot a mounted Amazon. probably the Amazon a teen Penthesilea, fighting two warriors (inv. nos. 136, 151, 158A, 4757). One of the warriors has been identified with Machaon, son of Asklepios, who fought at Troy.\nThe central group is flanked by pairs of fighting Amazons, mounted or on foot (inv. nos. 138, 150, 4646, 139. 140) and Greek warriors (inv. nos. 4562, 4753, 4650, 158A). Slain Greeks have fallen to the ground in the corners (inv. nos. 4492, 4747). and a dead Amazon is still on her horse (inv, no. 137)\nThe central akroterion of the pediment is a winged Nike descending trom the sky, holding a partridge (inv. no. 155), a symbol of Asklepios's healing powers. The side akroteria are two mounted Aurae or Nereids. All three akroteria were the work of the sculptor Timotheos.\nPentelic marble. About 380 BC.","created_timestamp":"1699792710","copyright":"","focal_length":"6.86","iso":"125","shutter_speed":"0.02","title":"","orientation":"1"})
Tholos
The Tholos at Epidauros was built sometime between 365 and 335 BC. It was the largest rotunda in ancient Greek history. Pausanias, who visited in the 2nd century, attributes the design to the architect Polykleitos of Argos. The Tholos represented the subterranean home of Asclepius. The sima, which acted as a gutter, was decorated with floral designs and waterspouts in the shape of lion’s heads.
Funerary Stelae
Rooms 23 and 24, along with the beginning of Room 28, include some impressive funerary stelae and sculptures from the 4th century BC.
Stele of Farewell
The first grave stele of note is the Stele of Farewell, which is dated between 350 and 325 BC. It was made of Pentelic marble and found near Omonoia Square in Athens. It depicts a woman sitting on a stool extending her right hand to a standing relative. The relative holds her hand at the wrist and raises her other hand in a gesture of speech. A girl stands on the left seemingly lost in reflection while a small partridge pecks at the ground beneath the dead woman’s seat.
Grave Stele of Damasistrate
Another stele, also made of Pentelic marble, was found in Piraeus. It belonged to Damasistrate, the wife of Polykleides, and is dated between 350 and 325 BC. It depicts a woman seated on an elaborate throne shaking hands with a standing man holding a strigil. A grieving relative stands between them, while a young maidservant wearing a barbarian chiton leans on the deceased’s seat.
Funerary Naiskos of Prokleides
The funerary naiskos of Prokleides of Aigilia, son of Pamphilos, dates between 350 and 325 BC. It was made of Pentelic marble with a base of Hymettan marble and was found near the Dipylon Gate at Kerameikos. The son of Prokleides, Prokles, is depicted as a bearded warrior standing and shaking hands with his father. He’s wearing a chiton, breastplate, and himation and holds a sword in his left hand. Between them stands Archippe, daughter of Meixiades of Aigilia, and probably Prokles’ mother.
Funerary Lebes-kalpe
In the center of Room 24 is a funerary lebes-kalpe, which is a vessel used as a cinerary urn. It dates to around 350 BC and was found at the end of Acharnon Street in Athens. The monument, which is made of Pentelic marble, once adorned the grave enclosure of an important Athenian family. It sits on a column-base surrounded by acanthus leaves and palmettes. Busts of griffins, which are symbols of immortality, adorn the top, while lavish floral decorations surround the base.
Funerary Statue of a Dog
Just inside the door of Room 28 is a funerary statue of a dog, which dates between 375 and 350 BC. It’s made of Pentelic marble and was found in Piraeus. The dog was probably meant to be the guardian of the tomb.
Funerary Naiskos of Aristonautes
Nearby is the funerary naiskos of Aristonautes, son of Archenautes, of the deme of Halai. It was made of Pentelic marble sometimes between 350 and 325 BC and found in the ancient cemetery of Kerameikos. It depicts a young Athenian warrior on the field of battle wearing full military equipment and a chlamyda. He’s carrying a shield on his left arm and would have held a sword in his right hand, which is missing. The holes in his forehead were used to attach a bronze helmet or a wreath. He died unmarried.
Relief of a Horse
Continuing along in Room 28 is a relief of a horse consisting of two slabs joined together. It’s made of Pentelic marble and was found near Larisis railway station in Athens. The relief may have belonged to a funerary monument and has been dated to the late 4th century BC. According to another theory, it was made in the 1st century BC in honor of a ruler, possibly Mithridates of Pontus. On the right edge, “a young Ethiopian groom attempts to restrain a large horse covered with a panther skin”. He’s holding a whip in his right hand and the reins in his left hand. An an impression in the shape of a Macedonian helmet sits above the back of the horse. The owner of the monument may have been a military man.
Relief Slabs from Mantineia
Further along the wall are three marble relief slabs from a pedestal that supported statues of Leto, Apollo, and Artemis. They were found at Mantineia, Arkadia, and were probably carved by a student of Praxiteles. The slab on the left depicts the music contest between Apollo and Marysas with a Scythian standing in the middle. The slabs in the center and on the right each depict three of the nine Muses holding musical instruments and scrolls. A fourth slab has been lost.
Marathon Boy
Across the room is Marathon Boy, which is a bronze statue of a young athlete that dates to around 340 to 330 BC. It was found in the sea off Marathon in 1925. The statue probably depicts the winner of a contest. It’s not clear what he was holding in his left hand, but his right hand indicates he may have been leaning against a column or wall. The work is associated with the school of Praxiteles.
about 340-330 BC
Amazonomachy Relief Slab
Next to Marathon Boy is a relief slab from a frieze depicting Amazonomachy. It dates to the middle of the 4th century BC and is made of Pentelic marble. It was found in Athens and may have been part of the frieze of a funerary monument. The relief depicts two Amazons with full military equipment fighting a nude Greek warrior. It’s attributed to the school of Bryaxis or Timotheus.
![Relief slab from a frieze depicting Amazonomachy; Pentelic marble; found in Athens; middle of the 4th century BC]({"aperture":"1.78","credit":"","camera":"iPhone 14 Pro","caption":"Relief slab from a frieze depicting an Amazonomachy.\nPentelic marble. Found in Athens.\nProbably part of the frieze of a funerary monument in the form of a naiskos.\nThe relief depicts two Amazons, with full military equipment, fighting a nude Greek warrior.\nAttributed to the school of Bryaxis or Timotheos.\nAbout the middle of the 4th c. BC.","created_timestamp":"1699793170","copyright":"","focal_length":"6.86","iso":"160","shutter_speed":"0.0082644628099174","title":"","orientation":"1"})
Antikythera Ephebe
The Antikythera Ephebe is a bronze statue of a young man dated to around 340 to 330 BC. It was found at the Antikythera shipwreck off the island of Antikythera along with the Antikythera Mechanism and several other statues in the museum’s Bronze Collection. The figure has been identified as Perseus, who would have been holding the head of Medusa, but it probably depicts Paris, who would have been offering the Apple of Discord to Aphrodite. The statue, which stands 1.96 meters tall, is attributed to the sculptor Euphranor of Corinth. It was recovered in several fragments and first restored in the 1950s.
Head of Aphrodite
Finally, rounding out the Classical sculptures near the end of Room 28 is a head of Aphrodite made of marble. It was found in the Roman Agora of Athens and was originally part of a larger than life-size statue made in the 1st century. It’s a copy of an original by Praxiteles made sometime between 350 and 325 BC. The crosses on the forehead and jaw were added in the Christian period.
Hellenistic Sculptures
The Sculpture Collection of the National Archaeological Museum continues with sculptures from the Hellenistic period, dating from the late 4th through early 1st century BC. They’re presented in one small gallery, Room 29, and one large gallery, Room 30.
The Hellenistic period spans between the rise of Alexander the Great in 336 BC and the Battle of Actium in 31 BC. Realism dominated sculpture during this period, produced in the artistic centers of Athens, Rhodes, Alexandria, Pergamon and other cities in Asia Minor. Commissions from wealthy private individuals also became more prevalent rather than works created for the public benefit.
Themis of Rhamnous
First, in the center of Room 29, is Themis of Rhamnous. It’s a statue of the goddess Themis dated to about 300 BC and made of Pentelic marble. It was found in 1890 in the smaller Temple of Nemesis at Rhamnous during excavations led by Greek archaeologist Valerios Stais (1857-1923) under the Archaeological Society of Athens. According to Greek mythology, Themis was the daughter of Ouranos and Gaia and the goddess of justice. She was worshipped at Rhamnous in the same temple as Nemesis.
The statue stands 2.22 meters (87 inches) tall and wears a high-girt chiton, himation, and sandals. The head was carved separately and the right arm, which is missing, would have held an offering bowl. The inscription on the front of the base indicates the statue was carved by Chairestratos of Rhamnous and was dedicated by Megakles.
Temple of Despoina at Lykosoura
Under the window are parts of cult statues from the Temple of Despoina at Lykosoura, Arkadia. This includes three of four heads of statues sculpted by Damophon. Along with the pedestal, the statue group was about 6 meters high and made of Doliana marble.
The heads depict Demeter, Artemis, and Anytos. Artemis, on the left, wears a wreath on her head. Holes in her ears and temples were used to attach metal jewelry, and her eyes were inlaid. Demeter, in the center, features part of the himation that covered her head. Anytos, on the right, had inlaid eyes.
Bronze Head of a Philosopher
Next to the door leading to Room 30 is a head from a statue of a Cynic philosopher, probably Bion of Borysthenes (c. 325 – c. 250 BC). It’s made of bronze and dates to about 240 BC. The head was found in the Antikythera shipwreck and features tousled hair along with a thick beard and mustache. The eyeballs are made of a different material and the irises are made of glass paste. The rest of the statue was depicted standing and wearing a long himation and sandals with thick soles. He was holding a staff in his left hand and extending his right hand in the characteristic gesture of orators.
Colossal Arm of a Statue of Zeus
Moving on to Room 30 is a colossal left arm of a statue of Zeus. It’s made of marble and was found at Aigeira along with the head. Zeus held his scepter in this hand. According to Greek traveler Pausanias (c. 110 – c. 180), it was carved by Athenian sculptor Bukleides in the second half of the 2nd century BC.
Theatre Mask
On the other side of the room is a theatre mask made of Pentelic marble in the 2nd century BC. The mask was found near the Dipylon Gate at Kerameikos and has exaggerated facial features. It has been identified as a ruler slave of comedy.
Statuette of a Boy from Lilaea
Further along is a statuette of a boy dating to the 3rd century BC. It’s made of marble and was found in the area of ancient Lilaea near Lamia. It depicts a nude boy leaning against a pillar and pressing on a duck. He’s wearing a ribbon in his hair and smiling at the duck.
Poseidon of Milos
In the middle of the room is the Poseidon of Milos. It was made of Parian marble sometime between 125 and 100 BC. The statue was found in 1877 on the island of Milos and depicts Poseidon wearing a himation covering only the lower part of his body. There would have been a trident in his right hand. Next to his right leg is a support in the form of a dolphin. The statue is 2.35 meters high. It was found in several pieces and had to be reconstructed.
Portrait Head from Delos
Nearby is a portrait head in bronze that was found in the Palaestra of the Lake on Delos. It dates to the early 1st century BC and depicts the head of the man turned slightly towards his left shoulder.
Group of Aphrodite, Pan, and Eros
Across the room is a sculpture of Aphrodite, Pan, and Eros. It dates to about 100 BC and was made of Parian marble. The sculpture was found in the House of the Poseidoniastai of Beryttos (Beirut) on Delos. According to the inscription on the base, it was dedicated by Dionysios of Beryttos to his ancestral gods. There are still traces of color in many places. It depicts a nude Aphrodite attempting to fend off Pan who’s making erotic advances towards her. She’s holding her sandal in her right hand while Eros comes to her aid.
Equestrian Statue from Milos
At the back of the room is an equestrian statue made of Parian marble and found on Milos. It depicts an officer riding a horse at a gentle gallop. The rider wears a corselet decorated with a gorgoneion and snakes, and a chlamys fastened on his left shoulder. His left hand held the reins and his right hand made a gesture of official greeting. It dates to about 100 BC.
Statue of a Fighting Gaul
Finally, near the door to Room 31 is a statue of a fighting Gaul. It’s made of Parian marble and was probably a work of Agasias around 100 BC. The statue was found in the Agora of the Italians on Delos. It depicts a wounded warrior falling to the ground on his right knee. He’s attempting to defend himself with his left arm. On the ground next to him is a Galatian helmet. The work is a “typical example of Late Hellenistic sculpture with features of the Pergamene school”.
Roman Sculptures
The final galleries of the Sculpture Collection include sculptures from the Roman period. They take up Rooms 31 through 33 and date from the 1st century BC through the 5th century. Many of the Roman period sculptures are copies of originals of the Classical and Hellenistic periods, but there were also incredible new creations. Portraits depicting the emperor and his family as well as dignitaries were especially important at the time.
Statue of Emperor Augustus
First, in the center of Room 31 is a bronze statue of Emperor Augustus dating to between 12 and 10 BC. It was found in the Aegean sea between the islands of Evia and Agios Efstratios. He’s depicted at a mature age mounting a horse. He’s wearing a “tunica with a vertical purple stripe (clavus purpurea) and a fringed paludamentum decorated with a meander pattern”. His right hand is raised in a gesture of official greeting and he’s holding the reins of his horse in his left hand.
Pseudo-Athlete of Delos
Along the wall is the Pseudo-Athlete of Delos. It was found in the House of the Diadoumenos on Delos and is made of island marble. What’s notable about the statue is that the body is idealized while the head is realistic. The statue dates to around 80 AD.
Female Portrait Head in the Form of a Mask
Also along the wall is a female portrait head in the form of a mask. It’s made of Pentelic marble but the provenance is unknown. The eyeballs are inlaid and the irises, which are missing, were made of glass paste. It dates to the late 1st century.
Hadrian Exhibition in Room 31a
In Room 31a is connected to Room 31. During my two visits in 2023, it contained a fine collection of busts and hermae. The exhibition marked 1,900 years since Hadrian’s ascension to the throne (117-138) and highlighted his philhellenism. Publius Aelius Traianus Hadrianus was well-educated and a fervent philhellene. He maintained strong ties with Athens and donated magnificent structures to the city.
The exhibition was a conceptual encounter between Plato and Aristotle attended by influential Athenian officials and Emperor Hadrian. The landscape of olive trees behind the gathering represented the natural environment of Plato’s Academy.
Statue of a Man Wearing a Breastplate
Moving on to Room 32 is a statue of a man wearing a breastplate. It’s made of Pentelic marble and dates to between 100 and 130. The statue, which was found at Megara, depicted a general or an emperor. The breastplate is decorated with reliefs of a Nike on the shoulder, Selene in a quadriga on the breast, and Nereids riding on sea creatures. It ends in tongues decorated with lion heads and palmettes, with fringed thongs below.
Statue of Asclepius
Along the wall is a statue of Asclepius made of Pentelic marble. It dates to about 160 and was found in the Sanctuary of Asclepius at Epidauros. He’s leaning on a staff coiled by a snake. It’s a copy of an original from the 4th century BC.
Portrait Head of Lucius Verus
Further along is a portrait head of Roman emperor Lucius Verus. It’s made of Pentelic marble and was found in Athens. There was no approximate date attributed to it.
Portrait Bust of Herodes Atticus
Next to it is a portrait bust of wealthy Athenian Herodes Atticus (101-177) dated to the middle of the 2nd century. It’s made of Pentelic marble and was found in Kifisia. Herodes Atticus was a benefactor of Athens and other cities, where he erected many public buildings, including the Odeon of Herodes Atticus on the south slope of the Acropolis. He owned luxury villas in many parts of Greece.
Statue of a Sleeping Maenad
In the middle of Room 32 are two interesting decorative sculptures. First is a statue of a sleeping Maenad. It’s made of Pentelic marble and dates from the reign of Emperor Hadrian, between 117 and 138. It was found south of the Acropolis and depicts a sleeping Maenad lying on a panther skin spread on a rocky surface. The statue probably adorned a luxury residence.
Table Support with a Dionysiac Group
Next is a marble table support with a Dionysiac group. It’s from Docimium in Asia Minor and dates between 170 and 180. It’s adorned with figures of Dionysus, Pan, and a Satyr and was used to support a table top. Dionysus is holding a rhyton (ritual vase) ending in the front half of a panther. Next to him is Pan holding a lagobolon (stick to throw at hares). A Satyr is climbing up the vine and cutting grapes with a sickle in his right hand. A lagobolon, a pan pipe, and a goatskin are hanging from the branch, and a small cylindrical basket containing a snake is on the ground. There are traces of red and yellow coloring on the hair of the figures and on the branches.
Ossuary in the Form of a Sarcophagus
At the back of Room 32 is a series of funerary monuments, starting with an ossuary in the form of a sarcophagus. It was found on Megisti (modern Kastellorizo) an was made in an Asia Minor workshop sometime between 150 and 200 of marble from Dokimeion in Asia Minor. One of the long sides depicts the dead married couple while Aphrodite writes their names on a shield supported by an Erotideus. Bellerophon and his winged horse, Pegasus, stand to the right. The other long side depicts the seizure of the Palladion by Diomedes and Odysseus while Aphrodite and a hero stand next to a trophy. On the narrow sides, one side contains a Centaur wrestling a bearded man while the other side depicts Satyr with Pan supporting a drunken Herakles.
Grave Stele of Alexandra
In the corner of the room is part of the grave stele of Alexandra, wife of Ktetos. It’s made of Pentelic marble and was found at Kerameikos. It contains Corinthian half-columns and the woman’s name is inscribed on the epistyle. Alexandra is depicted “with the characteristic dress and symbols of the goddess Isis”, which provides evidence of a widespread following of the Egyptian goddess in Greece. The stele dates to the reign of Hadrian (117-138).
Grave Stele of Artemidoros
Nearby is the grave stele of Artemidoros, son of Artemidoros of Bessa. It’s made of Pentelic marble and found near the Temple of Olympian Zeus. Artemidoros is depicted hunting a boar in the forest with his dog. Two other names were added to the stele later, possibly relatives of Artemidoros. The stele dates between 160 and 180.
Grave Stele of Neike
The grave stele of Neike, daughter of Eirenaios, is next. It’s made of Pentelic marble and was found in Athens. It depicts two women as the Small and Large Herculaneum Woman, which was a common theme during the Roman period. The stele dates between 160 and 180.
Statue of Julia Aquilia Severa
The final room is Room 33, which chronicles the decline of the Roman Empire. The first interesting piece is a bronze portrait statue of Empress Julia Aquilia Severa (d. after 222). It was found in Sparta and dates to 221 or 222. The statue is made of a large number of separately cast parts. It depicts the empress wearing a chiton and a himation and would have had a crown on her head. The statue is in poor condition because the building it was in collapsed due to fire. Julia Aquilia was the second and also the fourth and final wife of Emperor Elegabalus.
Votive Relief of Polydeukion
Nearby is a votive relief depicting Polydeukion. It’s made of Pentelic marble and was found near the Monastery of Loukou in Arcadia. Polydeukion was the favorite student of Herodes Atticus and died in his teens. His nudity, the horse, and the snake he’s feeding characterise him as a hero. Also depicted is a young slave to the right holding his helmet. The relief was made after the middle of the 2nd century.
Attic Sarcophagus in the Form of a Couch
At the back of the room is an Attic sarcophagus in the form of a couch. It’s made of Pentelic marble and was found in Athens. The sarcophagus was used twice. The first use depicted a reclining married couple on the lid, which is shaped like a mattress. Later, between 230 and 240, the sarcophagus was reused because of economic difficulties. The male figure was cut back and replaced by a group of papyrus scrolls, while the female head was replaced by the head of a man.
Grave Relief
Finally, a Grave relief with modern inscriptions is on display. It’s made with local Macedonian marble and dates to the middle of the 3rd century. It was discovered at Sandanski, formerly Agioi Anargyroi, in southern Bulgaria, on a site where a Christian church was built in the 19th century. The relief depicts the busts of a family of four. The villagers interpreted the figures of the two children as Saints Cosmas and Damian and added the inscriptions of their names. Between them is the date of the foundation of the Church of the Agioi Anargyroi, February 20, 1861.
Bronze Collection of the National Archaeological Museum
The Bronze Collection of the National Archaeological Museum is in a wing off the rooms holding Classical sculptures. It’s contained in Rooms 36 through 39.
Antikythera Mechanism
The highlight of the Bronze Collection is the Antikythera Mechanism, which is in Room 38. It’s the oldest known example of an analogue computer. The Antikythera Mechanism was used to predict astronomical positions and eclipses as well as the four-year cycle of the ancient Olympic Games.
In early 1900, Captain Dimitrios Kontos and his team of sponge divers from Symi discovered a shipwreck off the coast of the Greek island of Antikythera. The Hellenic Navy conducted a salvage mission from November 1900 through 1901. The device was identified on May 17, 1902, by Greek archaeologist Valerios Stais (1857-1923), who noticed a gear with legible Greek inscriptions. The inscriptions refer to astronomical and calendar calculations as well as instructions for its use.
The Antikythera Mechanism was contained in a wooden case, probably with a bronze plaque on the front and back. There are 82 known fragments that have been studied to this day. Seven of the fragments are mechanically significant, and it’s not certain that all of the other 75 small fragments belong to the device. It contained at least 30 gears, dials, scales, axles, and pointers.
Scholars have proposed calibration dates from between April 28, 205 BC, and December 23, 178 BC, while the National Archaeological Museum dates it to between 150 and 100 BC. There are also many theories as to the origin of the device.
Antikythera Shipwreck
In addition to the Antikythera Mechanism, small finds from the Antikythera shipwreck are on display in the Bronze Collection. Several bronze statues and 36 marble statues were recovered in addition to coins and other artifacts dating to the 4th century BC. Some of the bronze statues are displayed in the Hellenistic sculpture galleries.
Ambelokipoi Hoard
Bronze statues from the Ambelokipoi Hoard take up another display case. They were found in July 1964 by workers of the Athens Water Board, who were digging to lay pipes under Panagi Kyriakou Street in the Ambelokipoi neighbourhood. The statues were two meters underground and probably hidden by their owner to protect them from danger, such as the Sack of Athens by the Heruli in 267 or raids by the Goths in the late 4th century. It’s also possible they belonged to a metalworking shop that planned to melt them down for making other objects. The statues in the Ambelokipoi Hoard date from the Roman period, between the 1st century BC and the 2nd century. Most are miniature copies of well-known Classical and Hellenistic statues.
Other Artifacts
Several other artifacts are on display in Room 38. They included everyday items such as toiletries, jewelry, musical instruments, and figurines.
The medical instruments are from the collection of Konstantinos Lambros, which was confiscated in Berlin and brought to the National Archaeological Museum in 1899. Many of the instruments are adorned with symbols of the gods of medicine, such as snakes. Most date to the Roman period between the 1st century BC and the 3rd century. The oldest are forceps for removing hairs, which date from the end of the 8th century to the 6th century BC. The most recent are bleeding cups from the 2nd through 7th century.
Pitchers were used for transporting liquids and also served as cinerary urns. Bronze pitchers were much more expensive than clay pitchers, and are preserved in smaller numbers.
Arrowheads from Thermopylae
In a display case in Room 39 are bronze and iron arrowheads and spearheads found on Kolonos hill, where the last defenders of Thermopylae fell. Most of the arrowheads, which date between the late 6th and early 5th century BC, are Asian in origin.
Roman Chariot
Finally, also in Room 39, are fragments of a 3rd or 4th century Roman period chariot. They’re set against a modern wood and plexiglass frame. They were found in the ruins of a house at Nicomedia (modern Izmit) of Bithynia in Asia Minor, where Roman Emperor Diocletian probably had a palace. Diocletian ruled the eastern part of the Roman Empire from Nicomedia from 284 to 305. The chariot was possibly used in triumphal processions in addition to being a means of transport. The fragments may have belonged to more than one chariot.
Greek Flag Carried to the Moon
Finally, one item that’s a bit out of place but interesting is a Greek flag accompanied by moon fragments. It was carried to the moon and back during the first manned lunar landing, the Apollo 11 mission. The plaque reads:
PRESENTED TO THE PEOPLE OF THE KINGDOM OF GREECE BY RICHARD NIXON,
PRESIDENT OF THE UNITED STATES OF AMERICA
This flag of your nation was carried to the Moon and back by Apollo 11, and this fragment of the Moon’s surface was brought to Earth by the crew of that first manned lunar landing.
Egyptian Collection of the National Archaeological Museum
The Egyptian Collection of the National Archaeological Museum is contained in Rooms 40 and 41. It sits off the Bronze Collection galleries. Most of the Egyptian Collection consists of donations by two Greeks from Egypt. Ioannis Dimitriou bequeathed his collection to the National Archaeological Museum in 1880 and Alexandros Rostovich followed in 1904. Much of the rest comes from donations by the government of Egypt in 1893 and the Archaeological Society of Athens in 1894.
Room 40
Artifacts in Room 40 consist of Fayum portraits, sarcophagi, burial offerings and funerary items, and votive statues.
Mummy of Hapi
The most interesting artifact in the Egyptian Collection is right at the beginning of Room 40. It’s a wooden sarcophagus containing the mummy of Hapi, the so-called ‘Khor’, son of Pami. The mummy is wearing a gilt mask and “consists of separate pieces of cartonnage tied to the shroud with linen bands”. It was found at Akhmim in 1884 and dates to the Ptolemaic period, between 304 and 150 BC.
Room 41
Room 41 focuses on the New Kingdom, which lasted from about 1550 to 1075 BC. On display are more funerary items as well as jewelry, cosmetics, and household items.
Statue of Antinous
At the back of Room 41 is an Egyptianized and deified statue of Antinous (c. 111 – c. 130), the lover of Roman emperor Hadrian. The statue, found in 1843, came from the sanctuary of the Egyptian Gods at the Small Marsh (Brexiza) at Marathon. Wealthy Athenian Herodes Atticus (101-177) founded the sanctuary, which was dedicated to Isis and Osiris, around 160.
The statue shows the respect and admiration the ancient Greeks had for the much older and highly advanced ancient Egyptian culture. The cult of the Egyptian gods spread across Greece, Asia Minor, and Rome starting in the Hellenistc period. It later became an important element of the entire Greco-Roman world. Prominent Greeks and Romans, including Emperor Hadrian, set up sanctuaries dedicated to Isis and Serapis, which is a Hellenized version of the Egyptian god Osiris.
Vase and Minor Arts Collection of the National Archaeological Museum
The Vases and Minor Arts Collection of the National Archaeological Museum is housed in Rooms 49 through 57 on the first floor. All of the rooms were closed during my visits to the museum, but I was able to peek through the doors to snap some photos.
Antiquities of Thera Collection at the National Archaeological Museum
The Antiquities of Thera, which are housed in Room 48 on the first floor, are part of the Prehistoric Collection of the National Archaeological Museum. It includes finds from Thera (Santorini), the southernmost island of the Cyclades. It was once a circular island with canals connecting an interior lagoon with the sea, but much of it was submerged during a major volcanic eruption in the 16th century BC. The eruption created a large caldera.
The most important finds in the collection come from the Bronze Age settlement of Akrotiri, which is located on the south coast of Thera. It was settled as early as the 5th millennium BC, and was prosperous from the 3rd millennium BC through the time of its destruction in the 16th century BC. Akrotiri was an important port town that traded throughout the Aegean and Near East, and was full full of houses decorated with fine wall paintings. Akrotiri is nicknamed the “Pompeii of the Aegean”, and the volcanic ash preserved many of the spectacular finds that make up the collection.
Akrotiri was first excavated between 1967 and 1974 by Professor Spyridon Marinatos (1901-1974). The excavations brought to light a well-preserved 16th century BC Cycladic settlement. His 1939 theory that the eruption brought an end to Minoan civilization on Crete could not be proven. Excavations at Akrotiri continue to this day.
Pottery
The majority of the Antiquities of Thera Collection consists of pottery. On display are pieces such as large storage jugs, strainer jars, and vessels known as kymbe. Many are painted with beautiful multicolored decorations such as animals, fruits, or landscapes.
Strainer Jars
The strainer jar was a common type of pottery from Thera that was also found in Minoan Crete. It included an incorporated strainer probably used as an incense burner or to produce aromatic oils.
Kymbe
The kymbe was an elongated open vessel. It’s typical of Theran pottery but its use is unknown. The decorative motifs on these examples show Minoan influence, but the use of polychrome paint and the light-on-dark contrast are Theran traits.
Minoan Storage Jar
Finally, one of the most impressive pieces of pottery is a pithos (large storage jar) from the Knossos palace storerooms. It’s decorated with relief wavy bands and is inscribed with Linear A. It was donated to the National Archaeological Museum in 1887 and was found during excavations at Knossos by Cretan businessman and amateur archaeologist Minos Kalokairinos (1843-1907).
Stone Vases
The stone vases in the collection come primarily from Crete. They’re mostly made of serpentine, while marble, alabaster, and steatite are also used. The vases are shaped as bird’s nest, pyxides, lamps, and other figures. Locally produced stone vessels were made of volcanic stones and used for grinding food or color pigments.
Furniture Cast
One of the most fascinating artifacts is a cast of a piece of furniture. While actual furniture made of wood has not survived, archaeologists have been able to produce exact copies using plaster casts. This was achieved by pouring artists’ plaster into the hollows left by disintegrated objects inside a layer of volcanic ash.
Wall Paintings from Akrotiri
Finally, the highlights of the collection are the wall paintings from Akrotiri, which sit at the back of the room. Three brilliant frescoes are on display. The richness of their colors were perfectly preserved due to their burial in volcanic ash, and archaeologists have been able to identify the work of several different artists.
The wall paintings were created in the tradition of Thera but with strong Cretan influence. First, the artists covered the stone walls with clay mixed with straw, then with a thick layer of plaster followed by several thin layers of plaster. The preliminary design was sketched on a wet surface using twine and a pointed tool, and the paint was also applied on a wet surface. Some details were added after the plaster had dried. Dark red paint was produced with iron, while yellow ochre was used for yellow. Light blue was produced using pyrite with copper and lime oxides.
Boxing Children Fresco
On the left is the Boxing Children Fresco. According to the description at the museum, it depicts
two naked boys wearing belts and boxing gloves. Their heads are shaved but for two long locks at the back and two shorter ones above the forehead. Their dark complexion indicates their gender. The boy on the left is the more reserved of the two and wears jewelry consisting of a necklace and two bracelets, one on his arm and the other around his ankle, which indicate his higher social status.
The fresco comes from Room B1 in Building B, the same room as the Antelopes Fresco (see below), and was probably created by the same artist.
Antelopes Fresco
In the Antelopes Fresco, “two antelopes are sketched with strong, dark lines on a white plaster background”. It may have been “part of a large symbolic composition of humans and young animals”. The fresco also contains a decorative frieze of ivy stems and leaves.
Spring Fresco
Black, white, red, yellow, and blue colors dominate the scene of the Spring Fresco. According to the description at the museum,
The Spring Fresco is the only wall painting of Akrotiri that was found in situ, covering three walls of the same room. It depicts the rocky Theran landscape before the volcanic eruption: clusters of red lilies with yellow stems dominate the red and gray volcanic formations, while swallows swoop above, alone or in flirtatious pairs, animating the scene and symbolically announcing nature’s annual rebirth. The room had a shelf high on the wall and an opening for communicating with a smaller room to its north. The plaster model of a bed also comes from here.
