Learn...

about both the development of the sanctuary and of the ancient Greek art

The exhibits are presented in chronological order, in the spacious central hall and eleven more galleries surrounding it.

All objects are explained in a simple yet scientific manner. With a variety of helpful tools and means like maps, drawings, photographs, reconstructions, and models of the monuments, the visitor is informed and assisted at each step in the museum.

The information panels and the captions for every exhibit at the vitrines discuss and explain the historical development of both the sanctuary and ancient Greek art.

The large central hall of the museum is designated for the sculptures from the Temple of Zeus and it is surrounded by nine other exhibition galleries arranged in a U-shape for the presentation of the artifacts.

Permanent exhibition

The introduction to the history of the Sanctuary begins in the first gallery, with finds from the prehistoric period that shed light on the earliest phases of human presence in the area. On display are ceramic vessels and stone tools, mainly from the Early Helladic II and III periods (2700–2000 BC), which testify to the first settlements and activities of the local communities.

At the center of the gallery stands a model of the Tumulus of Pelops, a monument traditionally associated with the legendary hero after whom the Peloponnese was named. According to myth, Pelops was the son of Tantalus, celebrated for his chariot race victory against King Oenomaus, an event that marked both his rise to power and his deep connection with Olympia.

The narrative continues with the Mycenaean period (1600–1100 BC), represented by clay, stone, and bronze objects, as well as jewelry from the tholos tombs uncovered in the area of the new museum. These finds illustrate not only the material culture of the time but also provide valuable insights into funerary practices, social hierarchies, and the far-reaching influence of the Mycenaean world in Olympia.

This section showcases the impressive collection of bronze objects from the Geometric and Archaic periods, dedicated as offerings to the sanctuary of Zeus. These treasures bear witness to the wealth and significance of Olympia in early antiquity and represent only a part of the museum’s vast holdings, which form the richest collection of their kind worldwide.

Human and animal figurines, elaborately hammered bronze sheets, tripod cauldrons and other vessels or fittings, along with representations of griffins and sirens, reveal both the artistic mastery and the symbolic power of these dedications. Particularly noteworthy are the unique terracotta works, reflecting the aesthetic pursuits of the era.

Of special interest is the weaponry – helmets, greaves, shield ornaments, and finely crafted cuirasses – dedicated to Zeus as offerings of gratitude and honor for military victories. Defensive and offensive armor, transformed into sacred gifts, illustrates the profound connection between martial valor and religious devotion.

The section is further enriched by the terracotta acroterion from the Heraion, a rare example of architectural decoration, while the archaic stone head of Hera introduces visitors to the flourishing of monumental sculpture that would soon emerge in Olympia and throughout the Greek world.

This unit highlights a rich variety of finds that illuminate the artistic and religious life of ancient Olympia. Among them are pottery vessels of everyday and ritual use, finely crafted bronze jewelry and utensils, as well as significant examples of sculpture bearing traces of painted decoration. Particularly noteworthy are architectural elements originating from important monuments: the sculpted pediment of the Treasury of Megara, the cornice of the Treasury of Gela, and a striking lion-headed spout. Together, these works not only showcase the technical mastery and aesthetic vision of the period but also reflect the cultural and political presence of the Greek cities that dedicated them to Zeus at Olympia.

This unit brings together several outstanding examples of large-scale terracotta sculpture, which vividly illustrate the richness of artistic expression in ancient Olympia. Among the highlights is the celebrated group of Zeus and Ganymedes, a composition of exceptional narrative power and symbolic depth.

Equally impressive is the magnificent head of the goddess Athena, embodying divine majesty and artistic refinement, as well as the lively figure of a dolphin surging through the waves, a rare and playful motif in terracotta art.

Complementing these works are objects of great historical resonance: the bronze head of a battering ram, an emblem of military technology, and the helmets of Miltiades and Hieron, dedicated after their victories as timeless tokens of gratitude to Zeus.

These dedications evoke the glorious triumph of Miltiades at the Battle of Marathon (490 BC) and the celebrated naval victory of Hieron at the Battle of Cumae (474 BC). Together, these exhibits connect mythology, artistry, and history, offering visitors a vivid panorama of devotion and achievement in the ancient Greek world.

In the large central hall, the unique marble pedimental compositions and metopes from the Temple of Zeus are exhibited, the most representative examples of the severe style, constituting the most important exhibition unit of the museum. The Temple of Zeus, a work of the architect Livon from Elis, was built in the 5th century BC, during the height of Greek classical civilization. With its imposing dimensions, sculptural decoration, and the grandeur of the Doric order, it conveyed dignity and power, inspiring admiration both in antiquity and today.

The sculptural decoration of the temple is of exceptional artistic and historical significance: the two pediments depict two important myths from antiquity—the chariot race between Pelops and Oenomaus (east pediment) and the battle between the Centaurs and the Lapiths (west pediment), with Apollo as the central figure. The temple’s metopes present the twelve labors of Heracles in high relief, illustrating the advanced sculptural technique of the period. Additionally, the famous chryselephantine statue of Zeus, created by Phidias, was housed in the temple’s interior; a dedicated gallery in the museum is devoted to this masterpiece.

The harmony and austerity of the architecture combined with the rich sculptural decoration make the Temple of Zeus at Olympia a monument of supreme artistic and religious importance. The preserved marble compositions form one of the best-maintained and most impressive sculptural cycles of the classical era. These features render the museum’s exhibition unit unique and central to understanding ancient Greek religion and art.

The Nike of Paionios, one of the masterpieces of Classical sculpture and among the most famous exhibits of the Archaeological Museum of Olympia is housed in this small hall.

The statue was discovered in 1875 amid the ruins of the Sanctuary of Olympia, near the southeast corner of the temple of Zeus.

It was dedicated to Zeus by the Messenians and the people of Naupaktos in 421 BC to commemorate a significant military victory over the Spartans, acting as an offering of gratitude and devotion.

Paionios of Mende in Macedonia was the sculptor of this work, which depicts the winged goddess Nike triumphantly alighting, her right foot lightly touching the ground, while her garment billows spectacularly in the wind.

The statue is distinguished for its supreme aesthetic harmony, its movement, and the detailing of the drapery, symbolizing both divine favor and human effort and success.

Explore more here

Room 7 is dedicated to the great sculptor Phidias and the workshop where the famous chryselephantine statue of Zeus, one of the Seven Wonders of the Ancient World, was created. 

The workshop, built in the second half of the 5th century BC next to the Altis and opposite the Temple of Zeus, had dimensions nearly identical to the temple’s cella and was organized into three aisles with two rows of columns. The statue was crafted in the central, spacious aisle, while the other areas were used for processing its parts.

Excavations have yielded numerous finds such as clay molds used to create the folds of the statue’s robe, fragments of ivory and semi-precious stones, goldsmithing tools, ceramics, and a small oinochoe inscribed with “Φειδίο ειμί” (“I belong to Phidias”), confirming the artist’s identity. In the same room, along with the aforementioned objects, an impressive painted reconstruction of the statue and a model of the workshop are also exhibited, helping visitors understand the creation process of this monumental work.

The impressive statue of Hermes, created by the distinguished sculptor Praxiteles, represents the pinnacle of art at the end of the 4th century BC, during the transition from the late Classical to the early Hellenistic period. 

The marble statue, standing 2.13 meters tall, depicts the young god Hermes holding the infant Dionysus in his arms and was discovered almost intact in 1877 at the Temple of Hera in Olympia. 

Hermes’ characteristic pose, with his right foot firmly supporting his weight and his left gently touching the ground, along with the exquisite details such as the folds of his himation, make this statue one of the most representative works of Praxiteles’ style.

The statue is displayed at the center of the hall and is protected by a pioneering seismic isolation system installed at its base, ensuring the monument’s safety as well as comfortable viewing for visitors. 

The presence of Praxiteles’ Hermes in the museum offers a unique opportunity to appreciate the high technical skill and artistic dimension of ancient Greek culture.

Explore more here

Although the exhibits are few compared to the multitude of statues of gods, heroes, and athletes known from sources to have adorned Olympia, this hall offers unique testimonies of the art and religious life of the period. 

A standout piece is the small marble head of Aphrodite in the style of Praxiteles’ “Cnidian Aphrodite,” discovered at the Leonideion. This work is distinguished by exceptional grace, sensitivity, and aesthetic perfection that reflect the profound influence of the great sculptor, although it is more likely dated to the 2nd or early 1st century BC, rather than the 4th century BC as originally estimated.

The room’s collection also includes other sculptures and finds, such as a Corinthian-style semicapital from the circular cella of the Philippion, and a headless seated female figure statue carved from Pentelic marble. These pieces demonstrate the development of sculptural art and the transitional artistic stage during the Hellenistic period in the Olympia region.

This enriched description highlights the artistic evolution and cultural context of the Hellenistic era as reflected in the museum’s exhibits.

These rooms present the exceptionally rich collection of Roman sculptures found in Olympia. The works date mainly to the Imperial period (1st–3rd centuries AD) and testify to the continuing prestige and artistic wealth of the sanctuary during a time when Rome dominated the Mediterranean world.

A prominent place is occupied by the monumental statues from the Nymphaeum of Herodes Atticus, the luxurious building erected around 160 AD that combined architectural grandeur with abundant water supply. The sculptures, mainly statues of deities and members of the imperial family, have been placed on the curved wall of Room 10 to approximate their original arrangement in the monument and to convey the impression of the grandeur of the ensemble.

Impressive for its size and excellent preservation is the statue of Emperor Hadrian, which survives almost intact.

Room 11 also exhibits statues illustrating the stylistic variety of Roman sculpture, as well as how the Romans adopted and renewed the Greek artistic tradition. A highlight is the statue of Poppaea Sabina, depicted in the type of a priestess, possibly of Hera. It is one of two statues found in the Doric Temple of Hera, which served as a museum gallery during Roman times.

Through these works, Olympia’s role is emphasized not only as a religious center but also as a place of cultural meeting and interaction.

The presentation of the sanctuary’s history is completed with the exhibits in this final room, which represent the last centuries of habitation in the area, from the 2nd to the 6th-7th century AD, when the site was abandoned. 

The finds include clay, bronze, iron, and glass objects of various uses and types, revealing aspects of daily life, worship, and funerary practices of the period. Many of these items come from the nearby Roman cemetery at Fragkonisi, where priests and athletes, among others closely associated with the sanctuary of Olympia, were buried.

In a surface survey conducted in 2018, a rare find came to light: a clay inscription bearing the first 13 verses of the “ξ” rhapsody of the Odyssey engraved upon it. This inscription can be dated from the late 2nd to early 3rd century AD and was reused as building material. It constitutes the oldest surviving fragment of these specific verses and at the same time is one of the oldest preserved texts of the Odyssey originating from the Greek world.

artifacts and works of art
LEVITAS
LIONTARIA
kranos
stefani
Μ00891 - Br7567
TIPOU PSI
ELAFIA2
APOLLO
GYALI
Skip to content