What is changing at the National Archaeological Museum
The moment you step foot inside the National Archaeological Museum, the hum of compressors reverberates throughout the building, signaling a new chapter for this iconic institution. Currently, extensive renovations are underway, involving the expansion and modernization of the National Archaeological Museum, including the Epigraphic Museum. These changes are transforming the museum’s daily operations.
As visitors meander through the exhibition halls, we venture into the usually off-limits interior. Here, in the museum’s basements, workers are toiling away. Behind closed doors, foundational and masonry work is progressing swiftly, and exploratory cuts are being made to ensure the building’s structural integrity. The word “fragile” can be seen everywhere, a reminder of the precious and invaluable artifacts it safeguards. The majority of items in the museum’s storage areas have been meticulously packed away. It’s worth noting that the museum hosts the most extensive collection of ancient Greek civilization artifacts, with more than 11,000 exhibits. These offer visitors a captivating journey through ancient Greek history and art, spanning from early prehistory to late antiquity.
The restoration of the Tiryns frescoes and the unified presentation of the findings from the Antikythera Shipwreck – one of antiquity’s most enigmatic chapters – are set to revolutionize the museum experience. Essentially, a new way of exploring the museum is emerging, complete with fresh narratives and a revamped thematic approach.
The Archaeological Museum is undergoing more than a simple renovation. It’s experiencing a radical transformation, aiming not only to modernize in line with the designs by Chipperfield-Tobazi architects, but also to redefine its identity and role for the 21st century. As such, the ambitious redesign extends beyond mere technical enhancements. In just a few years, it will enable the exhibits to narrate their stories with greater vibrancy and clarity. From the restoration of the Tiryns frescoes to the unified presentation of the findings from the Antikythera Shipwreck – one of antiquity’s most mysterious chapters – the forthcoming changes promise to be transformative.
A new era of museum-going is emerging, characterized by innovative narratives, a thematically rejuvenated approach, and most crucially, deeper and more meaningful connections between the exhibits and contemporary visitors.
The Spring Mural. This is the only mural from Cape Thera that remains fully intact in its original location, adorning three walls of the same room. Room D2, Complex D. Akrotiri Thera, 16th century BC. Photo.
For the first time, sections that have never before been seamlessly incorporated into the museum’s existing narrative will be introduced. For instance, the Minoan Civilization, one of the oldest and most influential in Europe, will now be given its own platform.
Approximately 11,000 artifacts – including nearly 8,000 sculptures and vessels and 2,500 items from the prehistoric collections – have already been chosen for display in the new museum galleries. These objects span a vast period, from the early prehistoric era around 6800 BC to the late antiquity in the 4th century AD. Remarkably, about 1,000 objects will be unveiled to the public for the first time, including significant finds that will finally take their rightful place.
The total exhibition space now measures 11,100 square metres, and once the studies are fully completed, the number of exhibits will surpass 15,000 antiquities, outstripping the already substantial size of the current permanent exhibition.
The projected visitor numbers are also noteworthy: the museum, which already draws over 600,000 visitors annually, is expected to further boost its international appeal, potentially reaching visitor figures currently only seen at the Acropolis Museum.
“The exhibition is expected to be supplemented with loaned archaeological material from other archaeological collections and museums, while some of the exhibits will be returned by us to their respective archaeological collections,” explains the Deputy Director General and Head of the Collections and Exhibitions Department, Konstantinos Nikolentzos, during our tour. He further clarifies, “The tour won’t be a one-size-fits-all route, but rather, we will create various suggested paths based on the preferences of our visitors. As of today, the museum’s audio tours are set to last 90 minutes.”
Deep within the museum’s basements and behind closed doors, foundational and masonry work, as well as assessments of the building’s structural integrity, are underway. These activities reveal the extent of the ongoing transformation. Photo.
A glimpse into the museum’s workshops where conservators and archaeologists are hard at work. Photo.
The National Archaeological Museum’s new exhibition spans thirteen thematic sections, each tracing the course of Greek civilization from the Neolithic Age to the Early Byzantine Period.
The journey begins with the Neolithic civilization and the early Bronze Age, then moves on to the first urban centers of the Cyclades and the flourishing of the Minoan civilization. This is followed by the Middle Bronze Age and the dominance of the Mycenaean world. The transition from the Mycenaean kingdoms to the city-state, the birth of democracy in the Archaic Age, and the zenith of classical civilization are all highlighted. The narrative then continues with the rise of Macedonia, the formation of the Hellenistic world, the period of Roman rule, and concludes with late antiquity and the dawn of the Byzantine period. The final exhibit visitors will encounter is an impressive sculpture serving as a “farewell” – the 2.5 meter high marble Niki from Megara. Dating back to around 300 AD, this Hellenistic statue of the winged goddess Nike, absent her hands, wings, and head, will be on public display for the first time. Found in the 19th century near Megara, Greece, it is housed in the National Archaeological Museum of Athens.
The new exhibition’s philosophy centers on the ancient Greek as a creator who reflects his era, socio-political conditions, sciences, and philosophical ideas. He is portrayed as both the central figure in artistic depictions and a being who embodies both divine and human elements. The museum is currently seeking suitable locations to display key pieces from its permanent exhibition during its closure for expansion and renovation. Another space is also being sought for the storage of additional artifacts.
“The renovation and expansion of the National Archaeological Museum is an extraordinary project, both technically and culturally. We envision it as a place where the past meets the present, engaging with modern citizens and sparking conversations about our present and future. We want it to be more than just a museum; it should be a vibrant hub for the city, a place for dialogue, education, and innovation. We want people to visit not just when they’re showing friends around Athens, but to attend seminars, educational programs, and events,”
While the museum will inevitably be closed during the renovation works, we plan to hold an exhibition showcasing some of its most significant pieces. We are also planning temporary exhibitions that will tour globally and/or individual loans. Our aim is not to weaken the museum’s ties with Greek society and the international community, but rather to strengthen them through these initiatives. We are currently on track with the preliminary design of the project, and once we have the necessary approvals, we will share more details with the public,” says the Museum’s Board President, Ioanna Drettas.
As we sit in the museum’s café, Nikolentzos outlines the basic principles of the museum’s new approach. The new building, which is being developed across two underground levels, will house various functional units. The first level will contain public service areas such as a visitor assembly area, ticket office, cloakroom, information desk, restrooms, a restaurant and café with an independent entrance, a bookstore and shop, an amphitheater, an educational activities room, and temporary exhibition spaces. Part of the first level, along with the entirety of the second level, will be dedicated to permanent exhibition halls. Visitors will be able to follow a continuous flow through both levels of the new building, ending in the neoclassical building where the exhibition narrative will continue.
Finally, the rooftop of the new building will host a verdant park, open to everyone.”
Visitors explore the exhibition areas. Pictured here is a bronze statue of a teenage athlete, originating from the Marathon sea around 340-330 BC.
The Museum’s board president, Ioanna Drettas. Photo: Parris Tavitian/ LIFO
What’s New at the National Archaeological Museum
For the first time, visitors will have the opportunity to appreciate all eras of the Aegean civilizations in a cohesive manner. This term generally refers to the Bronze Age civilizations in the Aegean area. The exhibition will adopt a linear chronological narrative, incorporating easily comprehensible themes such as “Housing in the Neolithic Age”, “Trade in the Bronze Age”, “Panhellenic Sanctuaries”.
The antiquities will be displayed in the context of a unified concept rather than as isolated fragments, based on their construction materials. Hence, the Panhellenic shrines will not be showcased separately within the Sculpture, Bronze, and Vase Collections, but will be presented as a unified whole.
Artwork like the frescoes of Thera and Phylakopi, which share a common artistic origin and cultural background (Minoan Crete), but were previously displayed separately, will now be united.
For the first time, the artifacts from the Antikythera Shipwreck will be displayed as a single excavation set, instead of being dispersed throughout the exhibition space to fill historical gaps or merely to awe the visitors. The shipwreck dates back to around 60-50 BC, and its cargo includes items spanning a broad timeframe, from the 4th to the 1st century BC. Today, museum visitors can already admire the famous Antikythera Teenager, one of the most significant bronze statues from the Hellenistic period, which portrays a young man standing upright and is considered a masterpiece. It’s worth noting that in 2012, a temporary exhibition was held where all the artifacts from the shipwreck were displayed in the museum’s halls.
In addition, the Minoan collection will be exhibited for the first time. The museum’s mission is to highlight the precursor of the Mycenaean civilisation and to incorporate Crete into its exhibit lineup.
The Cypriot Collection is strategically placed near the Mycenaean and Geometric periods, reflecting the era when the island began its cultural assimilation with the Aegean world.
Macedonia will be prominently featured in the museum’s narrative, with its own dedicated thematic section and a comprehensive display of the museum’s Macedonian artifacts.
The new approach necessitates a shift in the museum’s presentation style, with a focus on interaction. This includes new display cases and innovative ways of showcasing the exhibits within them, easy-to-understand texts, and the use of digital technologies.
The project also brings significant benefits to the surrounding areas of Exarchia, Patissia, and Metaxourgiou, with upgrades to local infrastructure, hotel renovations and modernizations, and public access to the National Technical University of Athens. The museum has the potential to invigorate Athens, much like the Guggenheim has done for Bilbao, re-establishing itself as a landmark and reshaping its relationship with society.
The museum’s new amenities, including a shop, restaurant, 400-seat amphitheatre, and completely revamped permanent exhibitions, will transform it into a hub of activity. The primary goal, as emphasized by our sources, is to integrate the museum into the daily lives of Athenians and establish it as a major tourist attraction. Additionally, a large research center is being established to focus on the study of antiquity, innovative conservation methods, archaeometric analysis, and the restoration of antiquities using advanced scientific techniques.
New Artifacts to be Exhibited for the First Time
Shells Used in Ostracism
Ostracism, a practice introduced by Cleisthenes in 510 BC, was not a punitive measure but a preventative one against individuals amassing excessive power that could threaten democracy. Citizens would inscribe the name of the person they deemed dangerous on a shell or pottery shard, expressing their desire for that person’s ostracism. For the policy to be implemented, each candidate needed to secure a minimum of 6,000 votes.
Typically, exile lasted for a decade, but it did not result in the loss of citizenship or property. Given that written votes were not a common practice in Athenian democracy, the surviving ostraka provide invaluable insights into the direct involvement of citizens in decision-making. The numerous ostraka bearing the names of notable personalities indicate that nearly all of Athens’ significant political figures were, at some point, the subjects of ostracism. For the first time, ostraka featuring the name of Thucydides, a political adversary of Pericles, will be exhibited in the museum’s new display.
The Depiction of the Aryballoid Lekythos
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For the first time, the museum’s new exhibition will also showcase the depiction of an aryballoid lekythos, dating back to the final years of the Peloponnesian War. This piece reflects a tumultuous era when allegorical representations and personifications became widespread, encapsulating the impact of historical events on the Athenian psyche. It was a time when the laws and the very foundations of Athenian society were shaken to their core, as Thucydides vividly illustrates.
In what appears to be a matrimonial scene, Eucleia – embodying the good reputation of the family and the city – and Eunomia, symbolizing order and harmony at both individual and societal levels, are depicted on the surface of the lekythos. Their identities are indicated by faint white inscriptions above their heads, which are barely discernible today. Their presence is not merely an allegorical commentary on marriage, but carries multiple meanings and political connotations. The two figures serve as symbols of exemplary status: marriages that are respected and honoured, producing legitimate offspring, ensure the stability and continuity of the city. Thus, Eunomia and Eucleia coexist not only as guarantees for the harmonious operation of public institutions but also as pillars of Athenian domestic and private life.
Molybdenum Figurines
on different levels will now be brought together. Photo: Ethniko Archaiologiko Mouseio
The practice of magic-related acts in ancient Greece is well-documented. Lead tablets inscribed with curses, known as katadesmoi, have been discovered across the Mediterranean region, dating from the 6th century BC to late antiquity. These tablets were often wrapped and pierced with nails, then covertly placed in hard-to-reach locations with high humidity levels, but primarily within graves. The preferred graves were those of individuals who died young or through violent means, with the belief that their spirits could be invoked to harm the individuals named in the curses. The curses inscribed by the ancients covered a range of topics, from politics and law to love and sports.
One particularly striking katadesmos bears an Attic inscription, or curse, of a judicial nature, dating from 350-300 BC. Interestingly, the list of adversaries named on the tablet includes Demosthenes and Lycurgus, prominent politicians and orators of the 4th century BC.
In addition to these tablets, the Ancient Greeks also used unfinished human effigies made of materials like copper, lead, or wax in sympathetic magic rituals. For instance, a lead effigy with its head turned 180 degrees and hands tied behind its back was reportedly found in a tomb in Athens at the end of the 19th century. This effigy dates back to the Classical Age.
Mural Composition
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The museum’s new exhibition will feature a striking segment of a large mural composition from the Religious Centre of the Acropolis of Mycenae. Almost fully preserved, the mural depicts an octagonal shield against a white background. Trifoliate decorative motifs painted on the shield’s surface represent the cowhide used to construct the shields. A vertical yellow suspension stem in the shield’s center, indicating it was hung on a wall, is adorned with two rows of black oblique lines, symbolizing the cowhide’s hair. At the top is a decorative rosette, and the back features sections of decorative bands with a continuous spiral in between. This is believed to be a symbol of the armed goddess, whom many scholars have reasonably associated with the later Athena. The octagonal shield first appears in the grand frescoes of Mycenae, but it’s a recurring decorative motif in Mycenaean miniatures, rendered in gold, ivory, or semi-precious stones.
The Battle Crater
This exquisite example of Cretan-Mycenaean metalwork was unearthed during Henry Schliemann’s 1876 excavation in Mycenae. It vividly portrays a fierce battle between two warrior factions over a fallen hoplite.
Minoan Urn
This urn, used to store human remains, is credited to an Armenian workshop in Crete and has been dated to between 1400 and 1200 BC.
The fresh approach aims to draw a broader audience, encouraging return visits. Key to this strategy is the creation of narratives that breathe life into the stories behind the ancient artifacts, offering visitors a more immersive and personal connection to the past. The use of cutting-edge digital technologies enhances the exhibitions’ interpretive tools, making the experience more interactive and captivating.
Simultaneously, the museum’s outreach is demonstrated through temporary exhibitions, educational programs, “visible” storage, and workshops that amplify its educational and social roles. Crucial too is the collaboration with other cultural institutions and museums in the area, fostering cooperation and knowledge exchange.
In an era that demands daring innovations and creative transformations, this revitalization strategy is a crucial move toward establishing a more inclusive, dynamic, and fundamentally interactive museum.
Photo by Paris Tavitian/LIFO
Photo by Paris Tavitian/LIFO
Photo by Paris Tavitian/LIFO
Photo by Paris Tavitian/LIFO
The selection of items to be displayed for the first time, as well as the photographs, were curated by archaeologists Efi Economou, Vasiliki Pliatsika, and Alexandra Hadjipanagiotou.
This article was originally published in the print version of LiFO.
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