National Archaeological Museum of Athens in the context of "Ninnion Tablet"

Delos or Dilos (/ˈdiːlɒs/; Greek: Δήλος [ˈðilos]; Attic Greek: Δῆλος Dêlos, Doric Greek: Δᾶλος Dâlos), is a small Greek island near Mykonos, close to the centre of the Cyclades archipelago. Though only 3.43 km (1.32 sq mi) in area, it is one of the most important mythological, historical, and archaeological sites in Greece. The ongoing excavations in the island are among the most extensive in the Mediterranean, and many of the artifacts found are displayed at the Archaeological Museum of Delos and the National Archaeological Museum of Athens.

Delos had a position as a holy sanctuary for a millennium before Olympian Greek mythology made it the birthplace of Apollo and Artemis. From its Sacred Harbour are visible the three conical mounds that have identified landscapes sacred to a goddess (presumably Athena). Another site, retaining its Pre-Greek name Mount Cynthus, is crowned with a sanctuary of Zeus.

The statue of Athena Parthenos (Ancient Greek: Παρθένος Ἀθηνᾶ, lit. 'Athena the Virgin') was a monumental chryselephantine sculpture of the goddess Athena. Attributed to Phidias and dated to the mid-fifth century BCE, it was an offering from the city of Athens to Athena, its tutelary deity. The naos of the Parthenon on the acropolis of Athens was designed exclusively to accommodate it.

Many artists and craftsmen worked on the realization of the sculpture, which was probably built around a core of cypress wood, and then paneled with gold and ivory plates. At about 13 meters high, the statue reflected the established aesthetic canon of the severe style (clothing) while adopting the innovations of the high classical (leg position). She was helmeted and held a large round shield and spear, placed on the ground to her left, next to her sacred snake. Clothes, jewellery, accessories, and even the statue base were decorated, mainly with the snake and gorgon motif.

The Archaeological Museum of Delos (Greek: Αρχαιολογικό Μουσείο Δήλου) is a museum on the island of Delos, near Mykonos in the South Aegean, Greece. It is noted for its extensive collection of statues unearthed in the surrounding area of the ancient site, which has been declared a UNESCO World Heritage Site. Although the museum has a considerable collection, it does not contain all of the items found in Delos: a large quantity are on display in Athens at the National Archaeological Museum.

Anagyrus or Anagyrous (Ancient Greek: Ἀναγυροῦς), also Anagyruntus or Anagyrountos (Ἀναγυροῦντος), was a deme of ancient Attica, belonging to the phyle Erechtheis, situated in the south of Attica near the promontory Zoster. Pausanias mentions at this place a temple of the mother of the gods.

The ruins of Anagyrus have been found near Vari.

The wall paintings of ancient Thera are famous frescoes discovered by Spyridon Marinatos at the excavations of Akrotiri on the Greek island of Santorini (or Thera). They are regarded as part of Minoan art, although the culture of Thera was somewhat different from that of Crete, and the political relationship between the two islands at the time is unclear. They have the advantage of mostly being excavated in a more complete condition, still on their walls, than Minoan paintings from Knossos and other Cretan sites.

Most of the frescos are now in the Prehistoric Museum of Thera on Santorini, or the National Archaeological Museum of Athens, which has several of the most complete and famous scenes.

Prostitution was a common aspect of ancient Greece. In the more important cities, and particularly the many ports, it employed a significant number of people and represented a notable part of economic activity. It was far from being clandestine; cities did not condemn brothels, but rather only instituted regulations on them.

In Athens, the legendary lawmaker Solon is credited with having created state brothels with regulated prices. Prostitution involved both sexes differently; women of all ages and young men were prostitutes, for a predominantly male clientele.

Psychopomps (from the Greek word ψυχοπομπός, psychopompós, literally meaning the 'guide of souls') are creatures, spirits, angels, demons, or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife.

Their role is not to judge the deceased, but simply to guide them. Appearing frequently on funerary art, psychopomps have been depicted at different times and in different cultures as anthropomorphic entities, horses, deer, dogs, whip-poor-wills, ravens, crows, vultures, owls, sparrows, and cuckoos. In the case of birds, these are often seen in huge masses, waiting outside the home of the dying.

In ancient Greek religion and mythology, Iacchus (also Iacchos, Iakchos) (Ancient Greek: Ἴακχος) was a minor deity, of some cultic importance, particularly at Athens and Eleusis in connection with the Eleusinian Mysteries, but without any significant mythology. He perhaps originated as the personification of the ritual exclamation Iacche! cried out during the Eleusinian procession from Athens to Eleusis. He was often identified with Dionysus, perhaps because of the resemblance of the names Iacchus and Bacchus, another name for Dionysus. By various accounts he was a son of Demeter (or apparently her husband), or a son of Persephone, identical with Dionysus Zagreus, or a son of Dionysus.

During the Greco-Persian Wars, when the Attic countryside, deserted by the Greeks, was being laid waste by the Persians, a ghostly procession was supposed to have been seen advancing from Eleusis, crying out “Iacchus”. This miraculous event was interpreted as a sign of the eventual Greek victory at the Battle of Salamis (480 BC). Iacchus was also possibly involved in an Eleusinian myth in which the old woman Baubo, by exposing her genitals, cheered up the mourning Demeter.

The Varvakeion Athena is a Roman-era statue of Athena Parthenos now part of the collection of the National Archaeological Museum of Athens. It is generally considered to be the most faithful reproduction of the chryselephantine statue made by Phidias and his assistants, which once stood in the Parthenon. It is dated to 200–250 AD.