Delphi

Totter down the step bridging the streets of Apollonos and Friedrikis to discover this friendly vegetarian café-restaurant. Brightly colored tables and chairs scatter the terrace outside, with the interior potted with artwork. The menu is no less effervescent, filled with stuffed pastries and vegetable, rusk-soaked salads, and mountain cheeses both baked and fried. A welcome escape from the grillhouses.

Nothing in the simple restaurant design detracts from the view of the beautiful Itea gorge from the large, open veranda. Even in the colder months, a glass canopy protects the seating area and allows diners to look out year-round. Start with rooster soup and peppers stuffed with melted cheese. The house specialty is a must: the wild boar stifado is cooked with plenty of baby onions and fresh tomato sauce. The chef has been trained in France and likes to add tasteful twists in traditional Greek recipes. The restaurant is a favorite with tourist groups, so it can all can get quite lively all of a sudden.

The Theorodakis family keeps a watchful eye on the kitchen and on the happiness of their customers, who can choose between the spacious dining room or the large sheltered veranda with a stunning valley view. The menu is heavy on meat dishes, either grilled, boiled, or simmered in the oven, but vegetarians can put together a small feast from boiled greens and other homemade meatless Greek classics, like sweet peas in tomato sauce and stuffed cabbage leaves.

It doesn't take an oracle to divine the reasoning behind the name of this café; two large telescopes decorate the terrace looming over the gorge below. The menu is littered with tidbits to tempt visitors, including the usual array of Greek cakes and juices, but the views are the real lure here.

A traditional stone house built in 1850 in the center of Delphi is the setting for hearty lunches and dinners. In winter, dine near the fireplace and relish hot soups, lamb chops by the kilo, and grilled local talagani cheeses. In summer, the leafy terrace is one of the best seats in town, with salads, pastas and fish dishes blancing out of the traditionally meat-heavy mains.

After a square surrounded by late-Roman porticoes, pass through the main gate to Ancient Delphi and continue on to the Sacred Way, the approach to the Altar of Apollo. Walk between building foundations and bases for votive dedications, stripped now of ornament and statue, mere scraps of what was one of the richest collections of art and treasures in antiquity. Thanks to the 2nd-century AD writings of Pausanias, archaeologists have identified treasuries built by the Thebans, the Corinthians, the Syracusans, and others—a roster of 6th- and 5th-century BC powers. The Treasury of the Athenians, on your left as you turn right, was built with money from the victory over the Persians at Marathon. The Stoa of the Athenians, northeast of the treasury, housed, among other objects, an immense cable with which the Persian king Xerxes roped together a pontoon bridge for his army to cross the Hellespont from Asia to Europe.

The Temple of Apollo visible today (there were three successive temples built on the site) is from the 4th century BC. Although ancient sources speak of a chasm within, there is no trace of that opening in the earth from which emanated trance-inducing vapors. Above the temple is the well-preserved theater, which seated 5,000. It was built in the 4th century BC, restored in about 160 BC, and later was restored again by the Romans. From a sun-warmed seat on the last tier, you see a panoramic bird's-eye view of the sanctuary and the convulsed landscape that encloses it. Also worth the climb is the view from the stadium still farther up the mountain, at the highest point of the ancient town. Built and restored in various periods and cut partially from the living rock, the stadium underwent a final transformation under Herodes Atticus, the Athenian benefactor of the 2nd century AD. It lies cradled in a grove of pine trees, a quiet refuge removed from the sanctuary below and backed by the sheer, majestic rise of the mountain. Markers for the starting line inspire many to race the length of the stadium.

Visiting this museum is essential to understanding the site and sanctuary's importance to the ancient Greek world, which considered Delphi its center (literally—look for the copy of the omphalos, or Earth's navel, a sacred stone from the adytum of Apollo's temple). The museum is home to a wonderful collection of art and architectural sculpture, principally from the Sanctuaries of Apollo and Athena Pronoia.

One of the greatest surviving ancient bronzes on display commands a prime position in a spacious hall, set off to advantage by special lighting: the Charioteer is a sculpture so delicate in size (but said to be scaled to life) it is surprising when you see it in person for the first time. Created in about 470 BC, the human figure is believed to have stood on a terrace wall above the Temple of Apollo, near which it was found in 1896. It was part of a larger piece, which included a four-horse chariot. Scholars do not agree on who executed the work, although Pythagoras of Samos is sometimes mentioned as a possibility. The donor is supposed to have been a well-known patron of chariot racing, Polyzalos, the Tyrant of Gela in Sicily. Historians now believe that a sculpted likeness of Polyzalos was originally standing next to the charioteer figure. The statue commemorates a victory in the Pythian Games at the beginning of the 5th century BC. Note the eyes, inlaid with a white substance resembling enamel, the pupils consisting of two concentric onyx rings of different colors. The sculpture of the feet and of the hair clinging to the nape of the neck is perfect in detail.

Two life-size Ionian chryselephantine (ivory heads with gold headdresses) from the Archaic period are probably from statues of Apollo and his sister Artemis (she has a sly smirk on her face). Both gods also figure prominently in a frieze depicting the Gigantomachy, the gods' battle with the giants. These exquisitely detailed marble scenes, dated to the 6th century BC, are from the Treasury of the Siphnians. The caryatids (supporting columns in a female form) from the treasury's entrance have been repositioned to offer a more accurate picture of the building's size and depth. The museum's expansion also allowed curators to give more space to the metopes, marble sculptures depicting the feats of Greece's two greatest heroes, Heracles and Theseus, from the Treasury of the Athenians. The museum also has a pleasant outdoor café (weather permitting).

Sit in the ancient stadium of Delphi or at the Frynichos theater under the stars and watch everything from the National Beijing Opera Theater's The Bacchae to the tragedies of Aeschylus and Euripides, and even folk and traditional music improvisations at the Summer Arts Festival, organized by the European Cultural Center of Delphi. All performances, which begin around 8:30 pm, are open to the public and charge a small fee.

Start your tour of Old Delphi in the same way the ancients did, with a visit to the Sanctuary of Athena. Pilgrims who arrived on the shores of the Bay of Itea proceeded up to the sanctuary, where they paused before going on to the Ancient Delphi site. The most notable among the numerous remains on this terrace is the Tholos (Round Building), a graceful 4th-century BC ruin of Pendelic marble, the purpose and dedication of which are unknown, although round templelike buildings were almost always dedicated to a goddess. By the 2nd millennium BC, the site was already a place of worship of the earth goddess Gaia and her daughter Themis, one of the Titans. The gods expressed themselves through the murmuring of water flooding from the fault, from the rustle of leaves, and from the booming of earth tremors. The Tholos remains one of the purest and most exquisite monuments of antiquity. Theodoros, its architect, wrote a treatise on his work: an indication in itself of the exceptional architectural quality of the monument. Beneath the Phaedriades, in the cleft between the rocks, a path leads to the Castalian Fountain, a spring where pilgrims bathed to purify themselves before continuing. (Access to the font is prohibited because of the danger of falling rocks.) On the main road, beyond the Castalian Fountain, is the modern entrance to the sanctuary.